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19va Entrega Anual de los Latin Grammy

North America / USA / Las Vegas

19th Annual Latin Grammy Awards. The most important award ceremony of the Latin American Music Industry will be held for the fourth time in Las Vegas, Nevada

The main international event in Spanish that brings together the best of Spanish-speaking music reaches its nineteenth live broadcast, from the MGM Grand Garden Arena in Las Vegas, Nevada for the fourth time, to reward and honor the achievements of professionals of music throughout the year. The ceremony of the 19th Latin Grammy Awards is here, and on November 15 you will be able to enjoy it through the Univisión signal for the United States and with the #LatinGrammy you will be able to follow it minute by minute during its three hours of transmission by all social networks.

The most important night of Latin music 19 Latin Grammy

Each year the Latin Recording Academy awards recognition to Latin music in 49 categories for work recorded in two languages: Spanish and Portuguese. This prestigious institution also endorses musical genres, identifies new talent, recognizes legendary living artists, and preserves and archives both recordings and videos in order to preserve the valuable Latin American musical culture.

The global impact that Spanish-language recordings have caused this 2017-2018 has proven once again that this year each category will be close to its maximum exponential, which shows that MUSIC made by Latinos has an enormous export capacity, and further evidence that the Latin Grammy awards continue to be one of the specials with the largest audience in the country, as it integrates the largest audience of diverse generations united to witness the annual event with the greatest presence of artistic talent gathered in the same show.

FOR THIS 19TH AWARD OF THE LATIN GRAMMYS, THE NOMINEES ARE:

BEST SALSA ALBUM

Dancer’s Corner

Pete perignon

Record Label: Pete Perignon Music

“La Esquina Del Bailador” is the second production by musical director and master percussionist, Pete Perignon. This album contains five unreleased singles and five re-interpretations of classics. “Gotita Falling in Key” was his first promotional theme. This album released in 2017 has versions of classics with modern arrangements such as: “De Mi Para Ti” (Bossa recorded by Tito Puente and Santos Colón), “El Beso Discreto” original from the Cuban songbook Trio Matamoros, among many other original songs and versioned

Village Singer

Alexander Abreu and Havana D’ Primera

Record Label: Páfata Productions

Alexander Havana D Primera - Cantor del Pueblo — Alexander Havana D Primera – Cantor del Pueblo

For My People

Charlie aponte

Record Label: CA Records Inc.

The Sound Makers

Chiquito Team Band

Record Label: Planet Records

7/25

Victor Manuelle

Record Label: Sony Music Latin

BEST TRADITIONAL TROPICAL ALBUM

To Me What – Tribute To The Cuban Classics

José Alberto El Canario & The Santiaguero Septet

Record Label: Los Canarios Music

In this category, the Septeto Santiaguero, originally from Cuba, is nominated for its fourth album “A Mí Qué- Tributo A Los Clásicos Cubanos”. This ensemble founded in 1995 recorded this production in the company of the Dominican interpreter José Alberto “El Canario” and other music stars. This record material has 13 Tracks and was released on May 25, 2018.

Medoro Madera

Rubén Blades With Roberto Delgado and Orchestra

Record Label: Ruben Blades Productions

The Party Continues

The Sonora Santanera

Record Label: Sony Music

Omara Always

Omara Portuondo

Record Label: Egrem

Reasons

Maria Rivas

Record Label: Angel Falls Artists Inc.

BEST TROPICAL SONG

I want time

Juan Carlos Luces & Víctor Manuelle, songwriters (Víctor Manuelle Featuring Juan Luis Guerra)

Cut off: 7/25

Record Label: Sony Music Latin

The prominent Puerto Rican singer-songwriter and producer, Víctor Manuelle, began his professional career in 1993, and to date has sold millions of records worldwide. He has earned 16 LATIN GRAMMY and GRAMMY nominations, thus establishing himself as one of the most admired artists of his generation. He has placed 46 singles on Billboard’s weekly Hot Latin Songs chart. Eleven of his albums have reached the place of honor in the Salsa genre for sales in the United States and Puerto Rico.

His hit “Imaginar” (2016) as a duo with urban artist Yandel, broke records, reaching #1 on the tropical charts thanks to his fusions of salsa with urban rhythms. In addition, it was named the most popular tropical song of that year, marking the third time that Víctor has obtained this important recognition, after his hits “Me Da Lo Mismo” and “ Tengo Ganas”.

In this 2018, Víctor celebrates his silver anniversary as a professional artist with his new record label “25/7” under the Sony Music Latin label. This album nominated for best Salsa album features collaborations with international artists, such as: Wisin, Bad Bunny, Juan Luis Guerra, Gilberto Santa Rosa and Glenn Monroig. The single “Quiero Tiempo” taken from this production is designated as one of the candidates to win the award in this important category.

Marry Me

Silvestre Dangond, Nicky Jam, Juan Medina, Mauricio Rengifo & Andrés Torres, songwriters (Silvestre Dangond Featuring Nicky Jam)

Record Label: Sony Music Entertainment US Latin

Fall in love dancing

Jorge Luis Piloto, songwriter (Reynier Pérez y Su Septeto Acarey Featuring Gilberto Santa Rosa)

Cut from: Fall in Love Dancing

Record Label: Independent

I fall more in love with you

Jorge Luis Piloto, Jean Rodríguez & Tony Succar, songwriters (Tony Succar Featuring Jean Rodríguez)

Record Label: Unity Entertainment

Simple Hearts

Fonseca, Mauricio Rengifo & Andrés Torres, songwriters (Fonseca)

Record Label: Sony Music Latin

BEST LATIN JAZZ/JAZZ ALBUM

Mind of a Master

Bobby Valentin & The Latin Jazzists

Record Label: Bronco Records

Tracks:
1. De Nuevo a la Carga	7.El Cumbanchero
2. Latin Gravy	8.Mellow Funk
3.Orocoa	9. Endless Love
4.Smooth Ride	10.Freedom
5.Blast Off	11. God Bless the Child
6. Coco Seco

Roberto Valentin, better known as Bobby Valentin, was born on June 9, 1941 in the town of Orocovis on the island of Puerto Rico. At a very young age, Bobby learned to play the guitar thanks to the teachings of his father. At just 11 years old, he formed his first musical trio with which he won his first prize, after participating in a local competition. In 1963 Bobby Valentin joined the Tito Rodríguez orchestra traveling to Venezuela twice.

This phenomenal bass player and arranger belonged to the Fania All Stars for 20 years and also arranged music at the same time for celebrities such as: Charlie Palmieri, Joe Quijano, Willie Rosario and Ray Barretto.

In 1975 he formed his own record label “Bronco Records” and released the album, “Va a la Cárcel” Vol. 1 and Vol. 2, among others.

Over the years, Bobby has made collaborations on recordings for great artists of international fame, such as: Larry Harlow, Ismael Miranda, Roberto Roena, Cheo Feliciano and the always remembered, Celia Cruz.

Likewise, Valentin has taken over the stages performing live in the United States during this year, and more recently launched his new production “Mind of a Master”, on April 14, 2018, with which he is nominated. for this important award.

The House Of A Jazz Pianist

Adrian Iaies Trio

Record Label: DBN

Universal Nature

Hermeto Pascoal & Big Band

Record Label: Scubidu Music

Back To The Sunset

Dafnis Prieto Big Band

Record Label: Dafnison Music

Jazz Flute Traditions

Nestor Torres

Record Label: Alfi Records

For more information visit the official website of the Latin Recording Academy:

https://www.latingrammy.com/en

Mariantocook: In this kitchen “La Salsa” puts in the flavor!

Europe

Maiantocook:

Mixing two passions to a perfect match, is possible. Going into the kitchen of this beautiful woman means tasting a universe of flavors with your tastebuds, soul and hearing, yes your hearing comes included, when we talk about Marianto.

Teaching how to make fresh pasta in your kitchen in Panama

By Carmen Aular

María Antonieta Pérez Mendoza is Mariantocook, a culinary reference for those looking for options to learn professional cooking techniques and run to apply them at home and delight everyone with exquisite flavors, and preparations of an executive chef. She delights her followers constantly with recipes made with love, sense of humor and a lot of stories that she shares with a special happiness in her social media. She opens the doors of her home and shows us how to prepare, in the simplest way, amazing dishes that seem more elaborate. She is, also, very open to helping her followers, when they contact her in private asking for tips and a word of advice.

All this is wonderful and exciting to share, but why did Mariantocook really catch our attention? ¡La Salsa! This Venezuelan chef living in Europe not only makes everything look easy and exquisite in a few minutes, but, as if that were not enough, she enjoys cooking, listening to music and being inspired by it. Her Salsa Brava repertoire has inspired too many interesting and delicious dishes. Music is a ‘must’ in her kitchen.

This’ how it all started

Marianto is a Professional Chef at CEGA (Gastronomic Studies Center) in Caracas, Venezuela, and although her love for cooking began at a young age, her professionalization in the area did not come until many years later. She can cook for private dinners for 25 people or in the kitchen of “my little piece of heaven in Tuscany” as she calls it.. The kitchen is the same, what changes is the context.

In the middle of process to discover something in what could be good no matter the age, Marianto decided to cook; because she could take the kitchen and go anywhere in the world and at any time. And so, she took her kitchen to Italy, where she settled with her family and where she continued to learn from the original source of the recipes.

This entire project that has made a very good impression in social media and that she decided to call Mariantocook, began when her son going off to college in the United States and she needed to do something to not be sad and at the same time learn something new. Many videos, recipes and bloopers later, the result has been fantastic.

Cooking is passion, and that extra flavor in Mariantocook’s kitchen, is the music. There is a careful selection of a theme for cooking, from which derive colors, ingredients and even smells. Creating a menu inspired by music, depends of the chef’s mood. There is nothing tastier than cooking, singing and dancing.

For this passionate cook, the most dynamic and wise menus are inspired by the notes of Salsa, while the most passionate ones come straight from Jazz. After this affirmation we wanted to make a creative exercise and we decided to ask Mariantocook how she imagines a menu to the rhythm of Salsa Brava, a menu, especially designed for International SALSA Magazine. This was the extraordinary result:

International Salsa Magazine menu to the rhythm of Salsa Brava and masterfully designed by Mariantocook.

Appetizers

“First the tasty percussion” to begin with: Andean sweet ‘Arepitas’ (cornflour tortillas) with banana, ‘Telita’ (type of cheese produced in Venezuela) cheese and colorful sweet pepper jam. Mini dogfish ‘empanaditas’. Arepita Reina Pepiada (specialty of Caracas with chicken and avocado). “Here we have represented a few regions of Venezuela: Los Andes, Margarita and Caracas.” (Different regions of Venezuela with their own and very characteristic flavors). The “arepitas / arepas” are round tortitas made with cornflour, water and salt and are usually enjoyed fried, roasted and even baked.

Arepa with grilled chorizo, arugula and tomatoes

Entry

“The introduction begins with the instruments of the whole orchestra”: Minced grilled octopus, seasoned with tomato, escalonias, olive oil, coarse salt, pepper and fresh thyme.

Main dish

“Then comes the discharge”: Matricciana and fried pancetta, tomatoes, pepper and pasta with some grated pecorino romano cheese.

Dessert

“It ends with a bolerito”: Pears candied with syrup.

Bon appetit!

Auyama and mandarin cream with bread croutons

First the music

Before starting to cook, Mariantocook first puts the music, Thinks of a theme, and even improvises her culinary compositions when she has an opportunity. She also selects the wine, and cooks for it. She is a faithful believer of the argued kitchen, and to transmit to the diners what she feels while cooking. Marianto’s kitchen is a deep kitchen that comes from the soul and the heart and looking for memories, not only to be in a kitchen worthy of remembering, but that it also brings back memories to whoever sits at the table.

We want to close this editorial note with three of the questions we asked Mariantocook during a pleasant interview and a lot of learning. Marianto, as a good Venezuelan, flees from the Italian winter and takes refuge in her little house in Panama, where she was able to talk with ISM about her project, her passions (cooking and music), her plans for the future and her motivations.

ISM: What would you advise, from your life experience, both in the kitchen, as in the initiative to undertake the Mariantocook ’s project, to those entrepreneurs who want to start in the world of cooking or who want to venture into culinary art?

Mariantocook: Study, read, learn. Understand the reason for each process in each recipe. Be curious; do not be dogmatic, because dogmas close your head. Be humble, although with self-esteem, but without falling into the fatuous. Keep an open mind to new knowledge. Love everything. Cook with love and passion, no halves, give it your all.

Marianto Cook making delicious fresh pasta

Variation of La Carbonara with smoked salmon

ISM: What are your salsa recommendations?

Mariantocook: ‘El libro de la salsa’ de César Miguel Rondón is the tastiest thing you can give away. Rubén Blades, Adalberto Santiago, Ray Barretto, Bobby Valentín. ¡Salsa Brava!

ISM: What comes with Mariantocook?

Mariantocook: Cooking, editing, music. Learn many things to improve the videos and all the material I’m doing. I want to buy 2 or 3 cameras so that everything looks more professional.

You can follow Marianto on Instagram: Mariantocook, and by the same name subscribe to her YouTube channel. From wherever, she will always share her human warmth and that magic to cook and teach everything she has learned since she was 10 years old.

Photos: Mariantocook’s courtesy

Unstoppable Hollywood Salsa Fest focuses on the importance of Salsa

In the midst of the release of the single in which she collaborated with Edwin “El Calvito” Reyes ‘Dos pa’ lante’, on April 13, 2024; Melina Almodovar performed at the most important salsa festival in South Florida in the U.S. Melina also serves as an entrepreneur, along with her partner Cristina Moinelo, for the past nine years.

“La muñeca de la salsa”, Melina Almodóvar

Each year, the Hollywood Salsa Fest focuses on the importance of salsa music, recognizing that Afro-Latin music fuses us into a culture that draws from diverse roots. This year’s festival – sponsored by the city in a public-private partnership with various businesses – was held at the Artspark at Young Circle.

As masters of ceremony, the festival featured the winning team of “Meca” from Salseo Radio and “El Cacique” from Zeta 93 FM, Puerto Rico’s leading salsa radio station. On the decks was DJ “Boricua loco” with a tremendous selection of salsa, in addition to coordinating from his musical corner the dance exhibitions by the salsa dancers of YC Dance Studios.

The first orchestra in charge of starting the concert, Latin All Stars, counted with the vocal and scenic mastery of Marlon Mendioroz, Yorman Clay, Adrián Marchant, Yomil Rivas and Frank Cróquer, backed by a musical team that did not fall short of the expectations of those who waited patiently for the stage to light up with good salsa. Latin All Stars was followed by “Juano, tu cantante” from Cali, Colombia. The team of musicians of the orchestra with the second shift shined accompanying who for 16 years was part of Orquesta Guayacán.

The trumpet player also performed in the mid-afternoon block, preceding the arrival of the Hollywood Salsa Fest Orchestra in a segment in which they accompanied Hilda Naranjo from Cuba, Fabián Rosales from Chile and Joey Hernández from Puerto Rico.

At around 6:00 p.m., it was the turn of the Cuban sound known as timba, with the Julio Montalvo Orchestra and Miami’s Huracán. Once the hurricane winds that accompanied Julio Montalvo ceased, tribute was paid to the late Venezuelan percussionist Robert Vilera thanks to the staging of Vilera Son. The tribute to Vilera’s legacy featured the talents of Los Gaitanes from Panama, Avelino Romero from Venezuela, El Mola and Braidsman from Cuba, as well as Robert Vilera’s first singer, Felix Argenis.

“La muñeca de la salsa”, Melina Almodovar, was backed by Luigi Flores from Costa Rica on piano and musical direction, Johnny Fortunato from Dominican Republic on bass, Pablo Molina from Venezuela on timbales, Juan Pablo Camacho from Venezuela on tumbadoras, Carlos Molina from Venezuela on bongo, Carlos Perez from Cuba on first trombone, Ramon Benitez from Colombia on second trombone, Carlos Frank from Cuba on first trumpet and Julian Cifuentes from Colombia on second trumpet.

On backing vocals, Melina was backed by: Joe Arroyo from Puerto Rico and Freddy Lugo from Cuba. Melina gave us a first class show. As part of Melina’s performance, “El Calvito Reyes” joined her for the first time to perform the recently released single ‘Dos pa`lante’ as a live duet.

During the afternoon, the festival took place under a beautiful blue sky that kept the crowd’s enthusiasm positive. During the night, the clear Floridian skies kept the attendees dancing at full steam. Of course, to that end, the aforementioned talents kept the stage in salsa.

The festival closed with the always remembered for the classic ‘De barrio obrero a la 15’, Chamaco Rivera, who with a stellar salsa career to his credit, not only kept the audience engrossed in his impeccable staging, but also introduced us to his guest artist, his son: Christian Ray.

Melina contó con el respaldo vocal de Joe Arroyo de Puerto Rico y Freddy Lugo de Cuba

Christian delighted us with his repertoire shortly before inviting us to listen to his recently released CD entitled El legado continúa. To bid farewell to the musical day, which lasted nearly ten hours, the grand finale invited the group of singers who had paraded on stage during the day and part of the night to come in and jam with the “papa de los pollitos” (father of the chicks).

We are waiting to enjoy the next ‘Hollywood Salsa Fest’, for which the businesswomen in charge promise to throw the house out of the window. Melina and Cristina have delivered nine festivals in a row. So see you in April 2025 to dance in the tenth edition of the same.

Also Read: A party of dancers at the concert to celebrate Willie Rosario’s 100th birthday

A party of dancers at the concert to celebrate Willie Rosario’s 100th birthday

The now Doctor of Music Willie Rosario managed to fill a Puerto Rico Coliseum, with a capacity of 18,000 people, for the celebration of his 100th birthday. The production of the concert ensured that the musical proposal kept the audience dancing and singing along. It was no surprise that the “Choliseo” turned into a gigantic dance floor.

Fiesta de bailadores el concierto para celebrar los 100 años de Willie Rosario

Vocalist “Chamaco” Rivera was in charge of the performance of Willie Rosario’s orchestra’s first hit. Chamaco”‘s announcements alluded to the parallel of the Barrio Obrero, between our “santurcino” neighborhood of Borinquen and its namesake, located in Cali, Colombia.

Then came the current front of “the band that delights” to perform a selection of the group’s countless hits. The first turn went to José Luis De Jesús “Papa Chú” with the impeccable interpretation of ‘Ojalá que te vaya bonito’. At one point, when the song called for a duet performance, José “Machete” Díaz was the accompanist.

Smiling and with his voice cracking with emotion, Rosario greeted the audience, shortly before saying: “Thank you very much for coming this far” and giving entrance to “Manolito” Rodriguez, handing him the timbal. “Manolito” took the helm of Willie Rosario’s orchestra during several songs to which the young timbalero and musical director imparted his own tempo.

‘Anuncio Clasificado’ and ‘Cha-cha-ri-chá’ were heard in the voice of “Machete”, ‘Échame la culpa a mí’ and ‘El callejero’ in Erick Robles’ interpretation, and ‘Preparen candela’ with “Papa Chú” leading on vocals. Juventud del presente’ was heard in the voice of Rodriguez himself, who showed off his skills as a timbalero, director and singer, while dancing in choreography with the members of the vocal front.

During the segment in which “Manolito” led, the child Gerardo Gabriel Rivas entered into an explosive duel of timbales, corresponding with who, at the time, was acting as director. Humberto Ramírez interpreted the song ‘Míster Afinque’, which he composed and arranged in 2023 in honor of Rosario and which is part of the production Better Days.

At about ten o’clock at night, the birthday boy took over the orchestra to “continue in afinque”. With the “afinque”, came the main course of the concert, for which “El Rey del ritmo” arrived on stage this time accompanied by the duo composed by Gilberto Santa Rosa and Tony Vega.

Gilberto looked impeccable both in his vocal role and in his staging as he performed ‘Babarabatiri’, ‘Obra sellada’, ‘La mitad’, ‘Me tendrán que aceptar’, ‘Botaron la pelota’ and ‘Changó ta’ bení’. During the delivery of this last song, Santa Rosa was accompanied by a corps of veteran dancers, among them the always remembered “Mike” Ramos, known within the Palladium Mambo Legends and within the Mambo Aces as “Mambo Mike”.

Tony Vega was in charge of the interpretation of ‘Mi amigo el payaso’, ‘Busca el ritmo’, ‘A toda Cuba le gusta’, ‘Arrepentíos pecadores’, ‘El flamboyán’ and ‘El timbal de Carlitos’. Gilberto and Tony were able to transport the audience back to the days when they shared the hits of maestro Rosario’s orchestra, singing ‘Gracias mundo’ and ‘Lluvia’ as a duet. The team that shaped the centennial celebration of the successful bandleader paid attention to every detail of the presentation to make it a historic, unforgettable and unrepeatable one.

Willie Rosario, Tony Vega y Gilberto Santarosa

The detail that “El Caballero de la salsa” imparts to each of his concerts, highlighting each of the artists in the audience also took place in this event. The list of colleagues invited to the concert included Choco Orta, Luisito Carrión, Domingo Quiñones, Moncho Rivera, Ismael Miranda, Bobby Valentín, Jerry Rivas and Chucho Avellanet.

Although it is known that it is impossible to include all the hits of such a great career in three hours of concert, the selection of the repertoire was accurate and forceful. At almost 100 years old, bandleader Willie Rosario proved once again that, with his usual affinque, he continues to lead the salsa dancer’s favorite orchestra.

Also Read: Déjalo, the latest track by Pedro Conga y su Orquesta Internacional

Pancho Quinto is considered one of Cuba’s great rumberos

On April 23, 1933, in the Havana neighborhood of Belen, Francisco Hernandez Mora, known as “Pancho Quinto”, was born.

Remembered man of the Cuban rumba to which he imprinted his own styles.

Pancho Quinto es considerado como uno de los grandes rumberos de Cuba

He accompanied for a long time with his percussion the Las D’Aida Quartet and the Canadian artist Jane Bunnett.

Considered as one of the great rumberos of Cuba by introducing new styles in the Cuban rumba whose artistic baptism was given in the famous comparsa of Los Dandys.

He performed in several groups such as Los Componentes de Batea, Los Guaracheros de Regla and other groups whose banner was the tambor bata, he had a brief stint with the Sonora Matancera and played in the orchestra that accompanied the Cuarteto Las D’Aida at the Tropicana Club.

Later he founded the Guaguancó Marítimo Portuario, a group that became the popular Yoruba group Andaba, which performed with the Canadian artist Jane Bunnett, with whom Pancho Quinto collaborated in other productions, and in the twilight of his career he had three productions as a soloist. This rumbero percussionist lived 71 years.

He was preceded by the sonorous echo of Pablo Roche’s bata lucumí juramentados. Such was the heritage that little Pancho gathered when he arrived in this world in the arms of his great-grandmother Camila, with no other identity than his African blood and his diagonal marks on his face, as was the ancestral custom of his family Ilé in the Gold Coast.

That night the conch shells spoke, and from that moment the child was consecrated to the deity of Shangó, god of music and drums.

He received on his right wrist a leather strap with fine bells, which, according to custom, would protect him and his drums from the bad influences of destiny.

Perhaps that is the reason why Pancho Kinto, when he played, knew that his music reached his ancestors in Oyó, beyond time, light and the Atlantic.

This man, a port man for most of his life, inherited the natural wisdom of those princes who came as slaves to Cuba.

In Pancho’s veins runs the blood of Añadí, a respectable warrior in his tribe who adopted the name of Año Juan in the Cuban sugar mills, that of Atandá, olú batá and drum sculptor in the Yoruba people. He was known here as ño Filomeno.

Both built and endowed with religious foundations the first set of bata drum that was born in the island, and from that remote time the sacred song of the orchestra consecrated to the lucumí altar was heard.

Un 23 de abril de 1933 en el habanero barrio de Belén, nació Francisco Hernández Mora, conocido como Pancho Quinto.

It could be said that they were the survivors of the total of slaves that arrived to America, there is an estimate of fifteen million according to data that I heard the Cuban investigator Leovigildo Lopez say when the first Yoruba congress, celebrated in the Palace of the Conventions in Havana.

But to that fantasy that leads men to the inspiration of that mysterious and mythical love towards life, to that renewed and novel way of singing, dancing, playing, turning the palpable into spiritual and the intangible into vital, men like Francisco Hernández Mora pay tribute, exponent of those traditions that merged in our continent and whose result is none other than the embrace between blacks and whites, although there are groups or castes that do not assimilate it as it is.

I learned a lot with Pablo,” said Pancho in this interview in 1994, when he was just beginning to play with flutist Janet Brunet, with whom he toured internationally, recorded and filmed in Canada.

Pablo was called Akilakua, powerful arm, he was a big black man, he goes on talking, with all gold teeth, ugly as his mother’s pussy, but with something special in his personality.

Of the historical drums he commented that they passed from the hands of the olú batá Andrés Roche to those of his son, later considered one of the greatest bataleros of these times.

Pablo’s father was called the Sublime, because of the way he played the original African bata, he did whatever he wanted with those hands. he added.

Paradoxically, the life of both has always been an unknown for those who try to unravel it or look for a chronological order, as it has almost always happened with many rumberos and composers, I am thinking now of Tío Tom or Chavalonga, but that is not the subject now, What I want to say is that these musicians have been teachers and inspiration for a pleiad of Cuban artists and of other nationalities that with luck have heard of the touches of those drums that officiated in the sacred ceremonies of the orisha pantheons.

From those drums, he commented, were born all the drum sets of secret foundation, because from one is born another, like children.

Among the batá there are two forms, the religious and the aberikula or Jewish, which can even be played by women. Of the old consecrated batá aña there are a few games left in Cuba, but many Jews have emerged, and have lost their orthodox character to serve in many cases for secular parties or to accompany orchestras in public.

Recordado hombre de la rumba cubana a la cuál le imprimió sus propios estilos

Pancho kinto played with those sworn drums when in the town council of Regla they took out the procession of the virgin, although it was Jesus Perez, another of Roche’s students, to whom it corresponded to offer the first public concert with a robe orchestra, a sacrilege for many at that time, and much more if it was an act in the Aula Magna of the University of Havana.

However, five decades after the writer and ethnologist Fernando Ortiz sponsored that concert, Pancho Kinto played the bata in the same university campus to pay homage to the memory of his ancestors with his sonority.

Pancho was a Cuban musician who learned to play quintiar from a very young age and along with this he made his drums and cajones in his own way, his own inventions, as he said, playing the tumbador with a spoon in his left hand, he was just a party of bata and cajon, I saw him do that many times in the fabulous rumbas that were celebrated in a lot in Campanario, where the group Yoruba Andabo used to meet in its beginnings.

There he became known for being a member of the Cayo Hueso group, but Pancho had been playing with them since they were Guaguancó Marítimo Portuario in the port of Havana.

Originally they were Geovani del Pino, Chang, el Chori, Palito, Fariñas, Callava, Marino, Pancho and others, many are gone forever like Pancho, whose unexpected death surprised everyone on February 11, 2005.

Of those anthological sarayeyeos remains the pleasure of the memory, the pleasant memory of the controversies of the quinto and the columbia dancer, the fraternal brawls between the guanguancó improvisers and the masterful recital of Pancho Kinto with the batá and the cajón.

Also Read: Yilian Cañizares, an excellent Cuban musician, studied in her hometown in the strictest tradition of the Russian school of violin