Search Results for: Dancing

Edwin “El Calvito” Reyes. From combat to Beats

North America / USA

After participating in the largest military coalition in the history of the United States, Edwin “El Calvito” Reyes has shown that the phrase “If you dream that you can achieve it” is totally true. Dreams are achievable with perseverance, dedication and talent, qualities that this dreamy Sonero has, who will launch his record label soon for all Salseros lovers who support the new blood of the Salsa.

Edwin was born in Trujillo Alto (Puerto Rico) in 1974 and when he was 19 years old, he began his artistic career, playing and doing concerts of Plena (Folkloric Puerto Rican Music) in his hometown. Five years later “El Calvito” Reyes enlisted in the US Army in order to give a better future to his family, after a terrible work accident in his previous job (He was an Electrician).

Edwin “El Calvito” Reyes - Photo — Edwin “El Calvito” Reyes – Photo

During this year of change (1997) Edwin had his first opportunity in front of the American public as vocalist leader in a consolidated orchestra in these lands, “Papo salsa and his Tumbao” in Fort Stewart Army Post, GA, thanks to the expert eyes of Víctor Paris and Mr. Godreau, “Papo Salsa”.

From March 2003 to 2007, Edwin “El Calvito” Reyes went to combat four times in Iraq and once fought in Afghanistan, but he always felt the need to help relieve the stress of all the soldiers who were in those circumstances like him. In this way he created Saturdays of Salsa in combat for which he received help in the first instance from an U.S. civilian specialist in communications, Mr. Pérez, who contributed a large part of the necessary sound equipment to carry out this incredible idea at the beginning.

Later, Edwin with his percussionist and DJ skills in 2005 returns to Iraq but this time better prepared to carry out the Saturdays of Salsa parties during the fight. During this year he had his first performance in front of a crowd of soldiers and civilians accompanied by an orchestra of 14 musicians live, among which were: the Puerto Rican and master pianist José Pomales, Willie Báez, Julio De La Rosa, and Javier Solivan, among others …

Everyone playing outdoors in the main dining room at Camp Liberty where the stage was. From this success, the band continued its touches until 2007 in this warlike country with an orchestra of more than 15 pieces: Piano, Bass, Trumpets, Trombones, Tenor Sax, Conga, Timbale, Bongo / Bell, Drums, Vocalists and a sound master, with which this wonderful orchestra made a total of 25 presentations. “We were flown like true artist, in helicopters from one base to another, to just perform and then return back to our original base… Playing at Saddam’s Palace (a true palace made of concrete and marble) was the highlight. Also, at Camp Slayer where the biggest dancing crew gathered was an adrenaline rush for us… All with the help of great people who really felt like I felt; boost our own moral in combat!” told us Edwin.

In parallel to his military career, “El Calvito” Reyes participated in the Latin Music Orchestra in the city of Savannah, GA, “Ron con Anís” by the dead musician David Mercado and of which in 2006 he would be its owner under the new name “Orquesta con Clase” reaching objectives such as: leading the Latin American Services Organization (LASO) Festival in Savannah with more than 6,000 attendees; They were the “Guests of Honor” for the Fiesta Atlanta Festival at the Olympic Centennial Park in Atlanta, Georgia, performing in front of 10,000 people. Also, they served as the backup band for: Salsa Legend, Larry Harlow, the 2011 Hotalanta Salsa Congress, and many more.

In 2011 he is part of a selection of elite musicians of the U.S. Army to form a Latin music band called “One & Only” idea of creation by The Army Marketing & Research Group (AMRG) and carried out by the musicians Carlos Negrón and Albert Sánchez. This band, similar to U.S. Army Jazz Ambassadors sang Salsa, Merengue, Bachata and other Latin rhythms for the entertainment of their audience. During his tenure in this band he performed at the annual conventions of the League of United Latin American Citizens (LULAC), which is the largest nonprofit organization in America. He helped many Latinos obtain millionaire scholarships, he was master of ceremonies on three occasions contributing with his knowledge on “The importance to stay positive and reach that goal” and “How the army life will impact your life”.

From 2012 to 2016, he was the Official in charge of the Ensemble. He achieved the inclusion of more musicians to the group including female talent. He had the privilege of meeting political figures such as Michelle Obama, Hillary Clinton and Ricky Rosello (current Puerto Rico’s Governor), as well as acting in front of world-renowned stars such as: his idol Gilberto Santa Rosa, Olga Tañón, Tito Nieves, Jennifer Lopez, and many luminaries of the country’s Hispanic television.

Edwin “El Calvito” Reyes, leader, visionary and humble was also the host of a radio show called “My Salsa Show” in WHCJ 90.3fm at Savannah State University. From there derives his nickname “El Calvito”, thanks to one of his fellow broadcasters of the station and since then he is known as Edwin “El Calvito” Reyes by all his fans.

“ … I play Timbales, Conga, Bongo, Bata, Campana and all minor percussion… I ask not to be considered a master percussionist, as I’m learning the craft of all, but so far I have mastered the playing and singing simultaneously.”

This Sonero, percussionist has composed several songs and has made numerous covers. “You are My Wife” (2016) with arrangements by Castor Ugarte was his first composition with lyrics inspired by his wife.

His most recent single “Mi Tierra Querida”, al Son de Bolero, (2018) showed that doing what he loves has been one of his best keys to his resounding ascent in this career. This composition of the “Virtuoso de la Salsa” Rey Torcat with arrangements of the same Edwin with Eric Maldonado (Owner and Master Engineer at Paris Recording Studios, Tampa, FL) and on the piano, Adam Perez, has been a symbol of hope for all Puerto Rican emigrants based in the U.S. “Mi Tierra Querida” was awarded by the Akademia Music Award for Best Song back in April 2018.

“Mi Ritmo se llama Zalsa” is a theme that he launched this year and invites the dancers to perform their best steps on the track with its fast paced. Lyric by Rey Torcat, produced by Eric Maldonado, and with the participation of: Archie Pereira (piano), Kevin Pagan (Bass), Luis Chafalote (trumpets), José León (trombones) and Ricardo Rodríguez (saxophone Bari). This song currently ranks # 1 in Salsa Tune in Barcelona, Spain, based on the Record Pool of “Gussi DJ” on Tune in Radio.

“Soneros de Sangre Nueva” is another song of his authorship and the third that works in conjunction with Rey Torcat. In this single they share together the interpreters: Josean Rivera “El Nuevo Amolador”, Edwin Lebron “Xtraordinario”, Nandy “El Sinsonte” (Conquistador Del Elemento) and Gumbay Navedo (Carmen Sol). Also, the musicians of great trajectory, such as: Banny Maldonado, Grammy Winner, (Timbales), Edwin “Pirulo” Reyes (Congas) and Kokoand Take (Bongo / Bell) and in the choirs the Lead vocalist of the legendary CORPORACION LATINA, Edgardo “Bambino” Otero participated in this hit. Similar to his two previous unreleased tracks “Mi Tierra Querida” and “Mi Ritmo se llama Zalsa”, “Soneros de Sangre Nueva” has had a great acceptance and support from the public knowledgeable appreciative about the new Salsa representation worldwide.

The covers “Ya te Olvide” (2017) original song by the successful Mexican singer Marco Antonio Solis, recorded in the state of Kansas with arrangements by Carlos Ugarte and “RAN KAN KAN. Just for the King”(2009), tribute to Tito Puente under the production of one of the best percussionists, David Lugo with different choirs, Xilofono or Marimba, Trombones, and solos by Conga and Timbal, have screened” El Calvito “Reyes at the top of the most outstanding relief Soneros Salseros today.

Edwin “El Calvito” Reyes performing at the concert

With 25 years of musical experience and more than 10,000 presentations around the world, Edwin has stepped on the best stages including the World Peace Festival at the Olympic Stadium in Seoul (South Korea) in front of 82,000 people. He also had appearances in more than 20 Salsa Social events in many clubs throughout the peninsula, participated in the Salsa Beach Festival in Pusan and in two Asia Salsa Congreses with the master trombonist’s band, Greg Peña.

“Salsa is my therapy,

Edwin, who currently resides in Palm Coast, Florida, and after 22 years of service in the U.S. Navy and retired as Chief Warrant Officer, is preparing his debut album to be released in 2019 and doesn’t discard in the future to continue working on behalf of Hispanic communities around the world as a motivational coach, always bringing optimism and hope for a better future for the Latins.

Edwin “El Calvito” Reyes - A New Design - Made with PosterMyWall — Edwin “El Calvito” Reyes – A New Design – Made with PosterMyWall

All his music can be downloaded NOW on all digital platforms.

For more information, please visit www.ElCalvitoReyes.com or follow him in all his social networks as Edwin El Calvito Reyes.

Video: https://youtu.be/XMRTsFvpT0A

Toñito Laya

Latinoamerica / Venezuela / Caracas

On this occasion we have the privilege of meeting the new Venezuelan talent Toñito Laya (singer), son of Maestro Antonio “20 DEDOS” Laya, who was one of the most significant conga players in the Venezuelan salsa movement in the 1980s, director of the “ Banbankere Orchestra” of Petare with two musical productions; giving him more than enough reason to grow in Latin music, such as “el Son”, “la Rumba“, “la Guaracha”, “el Danzón”, “Boogaloo”, “la Timba” and “la Salsa” being This is the beginning of his artistic and musical career.

Starting in the 90s, he (Toñito Laya) entered the Bigott Foundation where he had the opportunity not only to learn the various rhythms in Afro-Venezuelan percussion, but also developed as a dancer in one of the most important groups in Venezuela when it comes to popular traditions. “Vasallos del Sol”, eventually becoming “Vasallos de Venezuela” in 2016, where he had 16 concerts, productions, albums and national and international tours; Colombia, Mexico, United States, South Korea and Japan, among others.

In 2006, a project called “Comprehensive School of Latin Tradition Dance 100% Tumbao” began, where many dancers were trained in the Cuban Salsa Casino genre, combining this training with Venezuelan traditions, making them understand that traditions come first. Venezuelans. Then they participated in the most important events and competitions in Venezuela, they even became Latin American Champions of “CUBAMEMUCHO 2009” in the city of Caracas-Venezuela, thus managing to represent the country in the grand final to be held in the city of Munich-Germany, 2010.

He also tells us that in 2009, they were invited to participate in a new project but this time not to dance, but to “sing” in a group that by then had no name but a particular genre such as “Son Cubano” . From that moment Toñito began his musical career to develop in a somewhat unexpected way, he was a founder and assumed the commitment of being in charge of this group as one of its leading singers for more than 7 years, where the themes arose: To me that, La Ruñidera, Bilongo, El Jamaiquino, I hear a drum, among others; They were part of his first musical repertoire.

With two record productions together with the already structured band “La Séptima Bohemia” he consolidated his musical career as a singer, going through a training process with different teachers and vocal coaches such as: Ronald González, Fanny Olano, Gustavo Gerardo and Marcial Istúriz, among others. others, who would help him develop in the middle of music.

National tours, award nominations and concerts allowed him to share the stage alongside large-scale national and international groups such as: Francisco Pacheco, Canelita Medina, Alexander Abre y su Habana de Primera, Manolito y su Trabuco, El Septeto Santiaguero, José Alberto “El Canario” to mention a few. Toñito records for the year 2012, the song “She takes me”, a song that in turn would be the title of the second album becoming an icon of parties, dances and social events not only in Venezuela but in many salsa and salsa dancing countries. casino in the world.

In the year 2016 Toñito Laya arrives in Aztec land to embark on a new path, he begins by residing in the city of Cancun-Mexico to sing in some local groups and participate in various projects such as: Los Panas.com, La Formula Perfecta, Grupo Swing Latin among others.

This new stage as an artist prompts him to consider a new musical challenge but this time as a solo singer with a well-defined and focused vision, his pleasant experience as a dancer motivates him to dedicate his first promotional single “ABRE QUE VOY”, this being the complement of an orchestra, for the musicians and their singers “EL BAILADOR”.

“ABRE QUE VOY” is the result of the work of talented and renowned Venezuelan musicians who give an important plus to this Musical production of “Maurice Melo”, this first single is created, performed by Toñito Laya, in the company of the Venezuelan talent of the following musicians:

Piano and arrangement: Joel Uriola.
Bass: Jesús Torres “Mandinga”
Percussion: Yomar Méndez “Caballo”
Trombone: Jhonal Rivero.
Trumpet: Edward Platter.
Baritone sax: Michel Peña.
Choirs: William “Wywy” Buznego, Carlos Guzmán and Ramfis Fajardo.
Recorded in the studio: A Tempo Records by Heyzer Cabrera.
Mixing and Mastering: Heyzer Cabrera. Caracas – Venezuela 2018

If you want to meet or contact Toñito, you can follow him through:

Correo: [email protected]
Facebook: https://www.facebook.com/tonito.laya
YouTube: https://www.youtube.com/channel/UCUkjU7SFnPc_W-XJDlMMzRg
Instagram: https://www.instagram.com/tonitolaya/
Twitter: https://twitter.com/negrolaya

Papo Lucca. The Giant of the South

Latin America / Puerto Rico

Papo Lucca born in Ponce, Puerto Rico on April 2, 1946, Enrique ‘Papo’ Lucca began playing the piano at age 11 with his father’s orchestra. Initially, La Ponceña played versions of tropical hits of the moment by bands like Cortijo y su Combo and La Sonora Matancera.

In the late 1960s, Papo became the orchestra’s musical director, beginning a profound transformation that would eventually establish la Ponceña as one of the most progressive groups in the history of Afro-Caribbean music. Papo’s orchestrations were bold, experimenting with elements of jazz, rock, and Brazilian music. Representing the authentic spirit of Puerto Rican salsa, his piano solos were velvety, displaying elegance, restraint, and infinite swing.

During the mid-’70s, La Ponceña began to enjoy unprecedented success with critics and the public. The band recorded for the Inca label, which eventually became part of the Fania empire. Papo was invited to arrange and play on sessions for the company’s biggest artists, including Johnny Pacheco, Celia Cruz and Cheo Feliciano. He also recorded and toured with the Fania All Stars.

This compilation pays tribute to the art of Papo Lucca through 14 classic songs recorded between 1967 and 1981. Although Lucca has recorded as a solo artist and also collaborated with a multitude of salsa stars, it is his work with La Ponceña that best expresses the clarity of his vision.

The music we make has to make people happy, as well as make them dance. That’s what it’s all about, says Lucca from her home in Puerto Rico. When the public can dance, no matter how complicated the music is. The first theme that this genre had was to divulge the things that happened in the different communities, as if it were a newspaper.

Our journey begins with two fiery songs from the beginnings of La Ponceña: “Hachero Pa’Un Palo” and “Fuego En El 23” are versions of songs by Cuban Arsenio Rodríguez. La Ponceña always had a soft spot for Puerto Rican folklore, but she also found inspiration in the golden age of Cuban music.

The precise moment in which La Ponceña becomes a mature orchestra in total control of its aesthetics can be found in the six songs from the Musical Conquest/Conquista Musical and El Gigante Del Sur albums. Launched on the market in 1976 and 1977 respectively, they represent the pinnacle of the salsa movement.

These songs combine a musical skill that approaches virtuosity with deep lyrics and a generous sense of humor. “Ñáñara Caí” is a hilarious narrative of pure magical realism, describing a world where everything is turned upside down (my favorite phrase: I saw a cow/Hit with Pacheco). Also included in Musical Conquest, “El Pío Pío” achieves the perfect cross between Afro-Cuban rhythm and contagious pop. This hit is a mandatory part of all La Ponceña concerts.

The opening theme of the El Gigante Del Sur album, “Boranda” seems to offer a salsa version of progressive rock. Its lyrics contain an important sociopolitical message, and the sophistication of its arrangement is a slap in the face for all those who believe that this music is only for dancing. “Soy Tan Feliz” combines bolero climates with an electric piano solo that recalls the psychedelic sound of jazz-rock from the ’70s. “Noche Como Boca ‘E Lobo” creates a tasty collision between salsa fever and Brazilian rhythms.

Lucca was not alone in his mission to reinvent the rules of Puerto Rican dance music. It was also benefited by the prowess of some of the best instrumentalists on the island. Furthermore, his instinct for choosing singers was always irreproachable.

Some of the vocalists of la Ponceña that appear here are Tito Gómez, who would later find fame with the Grupo Niche de Colombia; the inimitable Luigi Texidor, who gave a sense of placidity to all the songs he performed; and Yolanda Rivera, who added variety to the band’s sound with her unique timbre.

One of Rivera’s happiest moments is included here: Coming from 1980’s Unchained Force, Johnny Ortiz’s “Borinquen” is a soulful anthem to Puerto Rico, blessed with a sinuous melody and subtle instrumental arrangement–one of Rivera’s happiest moments. transcendental within the Ponceña canon.

The golden days of salsa are a distant memory in the new millennium, but Papo Lucca hasn’t stopped shining. Perhaps precisely because he continues to record new music, he refuses to idealize the past when I ask him what his favorite album with “La Ponceña.”

The last one, the most recent, he explained in his characteristically introverted tone. All the albums are very important in the career of the orchestra. They all fulfilled their mission at the time, which was to reaffirm the previous one. That’s the way to maintain a pool after 50 years.

The teacher was a little more direct when I asked him about his favorite concert of all time.

It was my first concert with the Fania All Stars at Madison Square Garden, back in 1974, he said. All the stars of the Fania were still alive. A few years later we played in front of 47,000 people in Cali. My knees always shake before I go on stage, but this time they shook a little more.

Ismaray Chacón Tejeda

Latin America / Cuba

Ismaray Chacón Tejeda, a cuban who carries the betrayal of her land and her family throughout the world

When it comes to dances, rhythms and sounds, it is impossible not to take as a reference the island with the most impact in the world of dance in the entire world, the beautiful island of Cuba, how many countries are not nourished by all the culture that this pearl of the Caribbean It allows us to see with its cultural roots, it seems that on the day of creation they left in Cuba all the musical dance creativity that they had.

Today we will be talking with one of the distinguished artists of the Cuban cultural movement in Europe, a member of a family legacy in Cuba, the so-called aspirins, we are talking about Ismaray Chacón Tejeda, a Piscean eradicated in Switzerland.

Welcome and always grateful for opening the doors of your life to make it known to our readers and your followers, we are going to get to know you a little.

Thank you for this great opportunity sir.

Ismaray let’s start by talking about the roots of your country. Do you live for folklore or do you enjoy it?

I enjoy it and at the same time I live it, it satisfies me is transmitting it and having the greatest result that a teacher can have, seeing the progress of the students, knowing that they deepen and feel identified with my culture, with my dance.

What does folklore mean in your life?

My identity as Cuban. It is life, feeling, experience… Everything!!

How was the idea of being part of the dance world born in you?

I was born and raised in that environment for my family. My grandfather rehearsed every week at home with his group and I didn’t miss a concert. I am the result of that environment.

How long study and career?

Professionally I started at the age of 17, after I left the School of Art Instructors (EIA), which I could not finish, I auditioned in a group called Obini Bata (Bata Woman). This group and my family were my true school. Look, we rehearsed twice a week all day where we learned the different taps, songs and dances plus the rehearsal of the group for the weekly function, the other days I practiced with my family, or I attended a drum, güiro or cajon (religious festivals) . All that mix was very important to me as it gave me the foundation for my career.

How many countries have you traveled making known the culture of your Island?

Uff!… (Between laughter and emotion) I have really been very lucky to visit many and repeatedly. Singapore, Russia, Morocco, Israel, France, Italy, Spain, England, Sweden, Finland, Peru, Denmark, Poland, Serbia, Germany, Austria, Brazil, Canada, Croatia, Ukraine, Switzerland, among others. I would like to go to the brother countries of Latin America and be able to exchange cultures. I went to Mexico but only on vacation.

What countries have you not visited that you would like to know?

Colombia, Argentina, USA, Africa (Nigeria, Congo), Dubai, China, Japan, India, Venezuela and other Latin countries, hopefully I can. Hey, let the promoters know (between laughs)

The Casino (Cuban Salsa), the rumba or the Afro-Cuban?

What comes to mind when you hear the name Luis Chacón Mendive?

Phew!… my map, my friend, the example to follow, my teacher, my idol, my little green old man, my adoration.

You have a traditional surname and a lot of renown in Cuba. At some point in your training was it a requirement or a motivation?

Yes, it was both. A motivation because it is a great pride for me to belong to this important family and to have that experience, which made me lean towards this side of dance, but at the same time, a challenge because I grew up with my grandfather and my father and every time I had to work, the other artists always said…

that’s Aspirin’s granddaughter… Koky’s daughter… There were those who trusted that I would do a good job, but there were also those who wanted to see if I was up to the job. that last name. Sometimes even though I don’t like to be the center of attention, I had to show it and be a fool as we say in Cuba.

congress and competition with Ismaray Chacón Tejeda

Why Aspirin?

Many say that when they see us play, dance or sing, their headaches go away hahahaha. In truth, it was from the great Aspirin who worked at that time and the boss always had pain in his teeth and sent him to the pharmacy to buy Aspirin. As it was very often, from there he got the nickname.

Do your dream and your reality go hand in hand? Did you dream of having another profession?

Today I can say yes. Being an artist was one of my dreams of the many I have. I remember when I was a child I wanted to be a flight attendant to travel the world and learn about other cultures, today I am lucky to travel carrying my culture and exchanging, I managed to be a flight attendant but in my own style. I’m very lucky.

What has the dance world given you and what has it taken from you?

It has not taken anything away from me, on the contrary, in addition to meeting so many beautiful people, it has given me life, emotions, sacrifices that today help me to value things more, it keeps me healthy and when I execute it, from that moment on all my problems they leave…it’s my therapy.

If you were born again, would you go back to dancing? Why?

Yes, a thousand times. Because art in general is a way of expressing what we feel, in the case of dance, we express it and transmit it with our body….it is life!

Photo of Ismaray Chacón Tejeda in a social

How is Cuban folklore currently spread in the world? Are lines of the original traditions maintained?

Well… this topic is very open and with different points of view, and the word Folklore says it all… In Cuba we have the Afro-Cuban and the Cuban, my point of view to summarize it in a few words, is an oral culture that was always transmitted through generations and family traditions, there is no book like in classical music where everything is written, rather what was seen that older people were doing was repeated, of course everything evolves and transforms over time of the generations even what is sung, the touches or their dances.

But in a certain way patterns are created to follow. I think that in order to spread it and teach it, it is important to know the basics and from there I totally agree with the evolutions, mixtures and others. We just have to be careful not to mistreat it.

What new projects could you share with us?

I currently live in Switzerland although I feel that I must start a new stage of my life in another European country. I also hope one day to be able to return to my country, be with my family and from there continue in the art that is what I love. For now I continue teaching and transmitting my culture throughout the world, already happily married I would like to have the blessing of one day having my family. Together with my husband Serguei Yera Madera, singer of La Reve, we want to continue developing our careers. We keep making history 😉

Grateful for letting us enter a very small corner of your life, we see that you are a true lover of your culture, we hope to continue seeing you succeed in the whole world. For our readers, you already know that this beautiful artist can be followed on her social networks.

Photo of Ismaray Chacón Tejeda and his family

Toñito Laya

Latin America / Venezuela / Caracas

On this occasion we have the privilege of meeting the new Venezuelan talent Toñito Laya (singer), son of Maestro Antonio “20 DEDOS” Laya, who was one of the most significant conga players in the Venezuelan salsa movement in the 1980s, director of the “ Banbankere Orchestra” of Petare with two musical productions; giving him more than enough reason to grow in Latin music, such as “el Son”, “la Rumba”, “la Guaracha”, “el Danzón“, “Boogaloo”, “la Timba” and “la Salsa” being This is the beginning of his artistic and musical career.

Starting in the 90s, he entered the Bigott Foundation where he had the opportunity not only to learn the various rhythms in Afro-Venezuelan percussion, but also developed as a dancer in one of the most important groups in Venezuela when it comes to popular traditions. “Vasallos del Sol”, eventually becoming “Vasallos de Venezuela” in 2016, where he had 16 concerts, productions, albums and national and international tours; Colombia, Mexico, United States, South Korea and Japan, among others.

To me that, La Ruñidera, Bilongo, El Jamaiquino, I hear a drum, among others; They were part of his first musical repertoire. With two record productions together with the already structured band “La Séptima Bohemia” he consolidated his musical career as a singer, going through a training process with different teachers and vocal coaches such as:

Ronald González, Fanny Olano, Gustavo Gerardo and Marcial Istúriz, among others. others, who would help him develop in the middle of music. National tours, award nominations and concerts allowed him to share the stage alongside large-scale national and international groups such as:

Francisco Pacheco, Canelita Medina, Alexander Abre y su Habana de Primera, Manolito y su Trabuco, El Septeto Santiaguero, José Alberto “El Canario” to mention a few. Toñito records for the year 2012, the song “She takes me”, a song that in turn would be the title of the second album becoming an icon of parties, dances and social events not only in Venezuela but in many salsa and salsa dancing countries. casino in the world.

Piano and arrangement: Joel Uriola.
Bass: Jesús Torres “Mandinga”
Percussion: Yomar Méndez “Caballo”
Trombone: Jhonal Rivero.
Trumpet: Edward Platter.
Baritone sax: Michel Peña.
Choirs: William “Wywy” Buznego, Carlos Guzmán and Ramfis Fajardo.
Recorded in the studio: A Tempo Records by Heyzer Cabrera.
Mixing and Mastering: Heyzer Cabrera.

Caracas – Venezuela 2018

If you want to meet or contact Toñito, you can follow him through:

● E-mail: [email protected]

Facebook: https://www.facebook.com/tonito.laya
YouTube: https://www.youtube.com/channel/UCUkjU7SFnPc_W-XJDlMMzRg
Twitter: https://twitter.com/negrolaya