Search Results for: El Gran Combo de Puerto Rico
Wherever a musician lives, Salsa Superior will arrive.
International Salsa Magazine and its Miami Correspondent Diana Marie present Richard Román one of the most recognized and respected announcers of Salsa Dura on On-Line Radio in Miami.
His name is Ricardo Román Zapata; he has 40 years as a show promoter, 26 years as producer and host of his Superior Salsa Program in Miami.
As a promoter began in a series of events in Ventanilla Beach in 1981, his activities were known in Lima and Callao, so much so that Dr. Luis Delgado Aparicio came to my place in Ventanilla and made a program of Maestra Vida in which he gave me a plaque with the logo of Channel 9 Television and the name of Dr. Delgado Aparicio. Delgado Aparicio in 1984, in the years 1986 and 1988 I organized the First and Second Festival of Salsa Playa de Ventanilla where Orchestras of Lia and Callao participated with unpublished songs in lyrics and music.
The winner in 1986 was Carlos Orozco y La Fragua with the theme “ESTAS LLORANDO” of the authorship of Carlos Orozco in tribute to Chabuca Granda, in 1988 the winner was El Combo Espectáculo Creación with the song “CONVERSEMOS” by Ricky Tosso, in homage to the problem of the Petisos (street children), in 1995 I started the Salsa Superior Program in Ventanilla Estéreo FM.
In 1997 I moved to Radio Pirata FM del Callao, in 2007 we started transmitting via www. radiosalsasuperior.com to date, in 2015 we started the delivery of plaques of recognition to musicians, composers and personalities of music in Peru, United States, Puerto Rico, Dominican Republic, Colombia, Venezuela, Ecuador, Cuba, Panama and our motto is “WHERE A MUSICIAN LIVES THERE WILL COME SALSA SUPERIOR”, The particularity of the plates is that in all this our National Flag, highlighting our beloved country and its people.
The District of Ventanilla
It is one of the seven districts that make up the constitutional province of Callao in Peru. It is the largest of them and the second in population.
It has gone through a process of economic, social, cultural, political, and urban changes, mostly unplanned, presenting itself as a district with a mostly poor population, territorially disjointed, disorderly, with worrying levels of environmental pollution and that has grown at rates that have exceeded the capacity of local management.
It is one of the seven districts that make up the constitutional province of Callao in Peru.
Chimpùn Callao
Callao is a port city located in the constitutional province of Callao, in central-western Peru and in turn on the central coast of the Peruvian coast and in the central-western part of South America. It has the Pacific Ocean to the west and 15 kilometers to the east the Historic Center of Lima.
Most of its territory extends in a wide bay protected by the islands of San Lorenzo, El Frontón, Cavinzas, and the Redondo islet, south of the mouth of the Rímac River, but also reaches the northernmost part of the bay of Lima.
Both bays are separated by a peninsula known as La Punta. It covers an area of 148.57 km², including 17.63 km² of islands. It is located 5 meters above sea level.
Since colonial times, the port of Callao has been the largest seaport, the most important in Peru, and one of the most important in America.
Callao is a port city located in the constitutional province of Callao, in central-western Peru.
Today it is the main port of the country and the Jorge Chávez International Airport, making it the main gateway to Peru. These in turn are the ‘natural’ port and airport of the city of Lima.
In terms of population, Callao is the third-largest city in the country, with more than 1 million inhabitants (only behind Lima and Arequipa).
It has a floating population of approximately 500,000 inhabitants who visit daily for family, tourist, educational and business reasons, among others. Callao has always had the privilege of receiving military visitors, especially sailors, merchants, immigrants, tourists, and other types of social currents.
Salsa Superior Radio (Live)
Facebook: Richard Roman
Article of Interest: Ralph Irrizary, a well-known percussionist, is considered one of the most “Swing” timbaleros in the world.
Bobby Cruz’s musical career and future projects
Life and biography
Bobby Cruz is one of those names that definitely does not require much introduction. This tremendous songwriter and Christian pastor has made a dream career in which he has earned all sorts of awards and recognition that demonstrate his value as an artist, including gold records, Grammys, platinum records, among other world-class awards.
Roberto Cruz Ramos was born on 26 February 26 1937 in Hormigueros, Puerto Rico. He grew up in a very humble family that was dedicated to farm activities for a living. His father was one of those many workers in the town who gathered sugar cane from the fields intended for growing that product and became a labour leader who was highly respected by his co-workers and locals. When the family moved to New York City, USA, he entered school, discovered his passion for music and began to be heavily influenced by performers and groups such as the Gran Combo de Puerto Rico, which he considered a source of inspiration.
In 1963, he met the man who would become his great musical running mate and with whom he would get many of the most important hits of his career. This was Ricardo Maldonado Morales, artistically known as Richie Ray, who was his neighbor and with whom he gave life to the orquesta de Richie Ray y Bobby Cruz. Even today, this is still considered to be one of the most important groups in the history of salsa, so no one can talk about this genre without mentioning both stars as compulsory references for anyone who wishes to study salsa in depth.
Together with Ray, he reaped unimagined success and won many awards, one of the most important being first place in the Orchestras Festival thanks to the song La Zafra, which conquered the public and the jury by its heartfelt lyrics which referred to the daily struggle of the workers in the sugar cane fields and their experiences. If we take into account the fact that the father of Bobby was a sugarcane worker and someone respected in his trade, this song acquires a far stronger meaning for anyone who has had the fortune of hearing it.
Within the year, more specifically in 1974, Bobby became an evangelical pastor after Ray invited him to attend the same evangelical church of which he formed part. He did not much like the idea at first, but then changed his mind and became a faithful servant of Jesus, as he defines himself.
That was how he started a very interesting facet in both his life and his artistic career. In a way, Cruz succeeded in mixing his passion for music with his new religious beliefs. This is how Bobby and Ray began to use a religious approach to their musical works, a decision that unfortunately led to the loss of a large number of their followers. However, that did not stop them and they went on to regain the confidence of their fans and members of their church, who were not very happy with the idea at first.
Current projects
Currently, Bobby Cruz is involved in a host of projects that takes up a lot of his time. One of them is the launch of his new book entitled Hubo Una vez un niño, the pages of which tell the story of a group of young inmates and their experiences in prison. The artist used stories he heard during his visits to prisons in Puerto Rico and other countries as part of his work as an evangelical pastor. In those prisons, he discovered stories about boys born into good families and healthy homes, but that did not stop them from ending up in prison for many reasons.
The fact that many of these boys were sons of pastors really touched him and made him wonder what had led these boys to commit acts so reprehensible having grown up in Christian homes. Moreover, there were many criminals who wanted to join the church and redeem themselves after having broken the law at that time. All of these things inspired Bobby in such a way that he wanted to create a story where he could reflect all of these elements that bothered him. It is now available on Amazon and many other platforms through which those interested can purchase it.
As additional data, the Puerto Rican let it be known that he is already working on the television version of the book, which will consist of 10 or 12 chapters in total.
One of the projects that Cruz has in mind is the launch of a film based on the trajectory of the singer with his orchestra fellow Richie Ray. It will be titled Richie Ray y Bobby Cruz, los reyes de la salsa and is expected to be the closest thing to the reality lived by the duo in years of greatest splendor. Although people of any age can enjoy it, it is known that it will be focused on the public that enjoyed their talent in the 70s and the actors are immensely similar to the performers in the time.
Among other details, it has been revealed that the film is already made and is in the process of being edited for release this year. It is just not clear the name of the platform that will be used to broadcast it, since the artists are waiting for the most attractive proposal possible. It was rumored that there were talks with Netflix to be the streaming service charged with broadcasting the film, but nothing has been confirmed officially.
Official Facebook page: Bobby Cruz
By: Johnny Cruz correspondent of International Salsa Magazine in New York City, New York
From Aruba and for the World Anoushca Jeandor Noush and Robert Jeandor
It is for me more than a pleasure and great honor to make this release of this song “Me Muero” taken to the rhythm of Merengue. Originally from the 5th Station.
Noush was born in Aruba as Anoushca Jeandor.
Being daughter of the International singer musician Robert Jeandor, she was raised in a musical environment, during her early years she started singing in a choir until beyond her teenage years, after that she was given the opportunity to perform in a local casino as a singer.
She became more popular when she won one of the biggest Carnival Music Contest, which made her the first female overall winner. She has also performed in the Netherlands and Miami.
What started as a hobby, turned into a passion, and is nowadays her living, singing different genres as R&B, Reggae, House and Latin.
I thank Jaime Querol, producer/arranger for his excellent musical work. Thanks to you from SalsaGoogle.com (ISM) for this opportunity.
And there will be many more.
I am a singer since my childhood. I come from a musical family. My dad’s name is Robert Jeandor.
My father worked with great musicians, he was invited by Johnny Ventura to go to the Dominican Republic to live, where he worked daily with hundreds of renowned musicians such as Juan Luis Guerra, Wilfrido Vargaz, Alex Bueno, Manuel Tejada, Jaime Querol, Ramon Orlando and many more.
I am a singer by profession, I have several productions of my own in different genres.
Today I launch myself with a musical theme that thanks to Mr. Jaime Querol for his invitation to make an international production withmy father.
This beautiful song in merengue version is for you and I hope that this to your liking Thank you very much and God bless you all.
Follow me:
https://linktr.ee/noushmusicaruba
Robert Jeandor and his Solo Banda Show
A live music band from Aruba founded by the famous Aruban musician Robert Jeandor. Known for playing different genres of music, but mostly Latin music.
Without a doubt, maestro Robert Jeand’or is the most Dominican Aruban we have ever known.
Since he settled in the Dominican Republic, where he arrived thanks to the efforts of a giant of merengue, Johnny Ventura, this singer, musician, arranger, composer, music producer and orchestra leader only made contributions to the rhythm commanded by the güira and the tambora and the one that best identifies the idiosyncrasy of the Dominicans.
Always gentle, humble and with a soul devoid of pettiness, this gentlemanly artist put his talent at the service of merengue and, therefore, of all the gear that drives it.
Robert Hubert JeanD’or Bermudez was born on May 10, 1954, in Aruba, a territory that until 1986 was part of the Netherlands Antilles and today is part of the Kingdom of the Netherlands. He was the son of Francisco Reinier JeanD’or from Curazaleño and Cecilia Bermudez from Aruba, who worked in the Aruban aqueduct and hospital, respectively. Don Francisco died in 1972 and Doña Cecilia in 2005.
Notice that I have written JeanD’or and not Jeand’or, because the first is the correct surname of this family, but for artistic management purposes Robert was given Jeand’or. And lucky he was that they did not remove the apostrophe and left it only as Jeandor!
His inclination for music came from his father, who guided him when Robert took his first steps in musical studies.
“My dad was my first music teacher: he wrote down for me all the chords in a notebook and there, when I was barely six years old, I started learning to play the Venezuelan cuatro and, after some time, the guitar,” he recalled.
But it was not only in Robert’s veins that musical talent ran, but also in his siblings Francisco (Frank), who played guitar and mandolin, Marlene and Percey were equally talented guitarists, Robertina and John sang, Ismael was a trumpet player and Michael was a percussionist. Several of Robert’s siblings are now deceased: Ismael and Sofia (2010), Frank (2013) and John (2014).
In the neighborhood where he was born, called Madiki, he could very often see his brothers playing almost every night, together, as a family, with his dad leading, and so he was caught by the desire to join the family clan as a musician and that led him soon after to play the guitar.
“One night my brother Frank came home and told me that there was an aguinaldo group that needed a cuatrista to reinforce. The group was called Las Blancas Palomitas and was led by Severiano Luidens, with his relatives Evelien and Jossy Luidens also standing out,” recounted Robert Jeand’or, who was only eight years old at the time and, bursting into laughter, added that the only negrito was him.
He told that his relationship with the bass happened in a fortuitous way, because during a presentation of the group the bass player did not show up, due to lack of transportation, and then Robert, being a child of about nine or ten years old, assumed to play the powerful string instrument and solved the problem generated by the absence of the titular instrumentalist.
“I grabbed the bass, without ever having played it before and as the strings are tuned in the same order as the guitar, I said I was going to play it and so I played that night and that’s how I started to play it and to this day it is my greatest pleasure,” he recalled.
The lanky artist said that he entered a music academy to study bass and singing, being instructed in both subjects by the now extinct Aruban professor Rufo Odor and in harmony with the also deceased Argentinean professor Eddy Bennet.
In his youth and as a cuatro player and singer, he briefly played with pianist Albert Dieffenthaler, with whom he performed in several television programs, hotels and bars.
In the early 70’s, he joined Los Juveniles, which was the first orchestra where he participated as bassist, singer, composer and arranger. With this group, with which he became famous in his native land, he won in three consecutive years (from 1976 to 1978) the Tumba award, an annual celebration that is part of the carnivals of Aruba. Incidentally, Jeand’or would later win this award again two years in a row (1990 and 1991).
In 1978 Robert Jeand’or was crowned King of Tumba, after performing the song “Bolombonchi”, authored by Vicente Kelly, Victor Oduber and Jeand’or himself, which was later recorded by popular Colombian artist Joe Arroyo, who died in 2016. That impactful performance was seen by Johnny Ventura, who also performed there with his orchestra and El Caballo Mayor approached the Aruban singer to see if he would be interested in trying his luck abroad.
While that experience unfolded, Jeand’or did not stop his desire to add to his musical knowledge and expand the knowledge he already possessed in harmony and composition.
In the first five years of the 70’s, he released his first recording, composed and arranged by the artist himself: “Ta di nos e ta”, a phrase that translated into Spanish means “It’s ours”.
During 1979 he released with his orchestra La Nueva Fuerza the musical production entitled Rey Di Tumba 1976-77-78, recorded in his native island and with the support of Aruba Recording Studio, where he experimented with Latin, folk and country genres, giving us songs such as “Ban bonse”, “Ata mi cos”, “Manera un wiei”, “Slip’e”, “Bolombonchi”, “Pusha bai aden”, “M’y yega”, and “Canta cu mi awor”.
Many people don’t know that Robert Jeand’or was just a few minutes away from joining the Gran Combo de Puerto Rico, after the departure of Andy Montañez. Jeand’or took the stage with La Universidad de la Salsa, during a presentation at the Caiquetio club, and performed “El barbero loco”, “Las hojas blancas”, “Pin pin pin” and other songs that Montañez vocalized. His voice impressed Don Rafael Ithier and the staff of the famous group. After Montañez moved on to La Dimensión Latina, Ventura called maestro Ithier and recommended Jeand’or to fill the position of El Niño de Tras Talleres, to which Ithier replied that yes, he knew him, but he had already recruited Jerry Rivas. It is said that there was also a delay with the American visa.
It was not long before Jeand’or became part of La Dimensión Latina, because both when Oscar de León left this orchestra and when Andy Montañez also left, the name of the Arubeño was mentioned to join this Venezuelan group. In fact, they went to look for him where he worked, but he was already in Santo Domingo with Los Hijos del Rey.
Likewise, during a visit of Larry Harlow to the island of Aruba, El Judío Maravilloso saw Jeand’or singing and told Vicente Kelly, recently deceased this year (2020) and compadre of the popular singer, bassist and arranger, that he would take the Aruban singer to New York, because he needed someone to fill the void left in his orchestra by Junior González (who died on May 10, 2012) and Kelly responded positively, but that promise was never fulfilled.
In the midst of all that, the Aruban artist opted to join the Los Hijos del Rey orchestra in 1979 and settle in Santo Domingo.
“It was Johnny Ventura who talked to me so that I could travel to the Dominican Republic as a musician, and getting there was a great experience. Once in the Dominican capital, the first recording I made was for a commercial and the person who called me for that job was a very respected musician, his name is Jorge Taveras,” he said.
With Los Hijos del Rey, an orchestra then led by maestro Dioni Fernández, he recorded merengues such as the emblematic “Yo me dominicanizo”, by the prolific Puerto Rican composer Catalino Curet Alonso, affectionately known as Tite, “La pilandera” and “La vacuna”, by Porfirio Ruiz, among others, as well as the salsas “El viento”, by Joe Nicolás, and the successful “Puchula”, by Ramoncito Díaz.
While he was performing in Puerto Rico with Los Hijos del Rey, an orchestra that was in conflict with another faction for the use of the name, Jeand’or, who in the middle of that was in a kind of limbo, received a call from composer Curet Alonso (died in 2003), who mediated for him to sing with Roberto Roena & Apollo Sound, and the artist told him that he would think about it because he had to talk first with Ventura, who has always been his advisor.
Another situation that put Jeand’or on the verge of joining a salsa orchestra: in the middle of a tour in Puerto Rico, trumpeter Nelson García, of Los Hijos del Rey, talked to maestro Bobby Valentín to include the arubeño in his orchestra and the Puerto Rican star liked the singer’s voice very much, but then he had Cano Estremera as his star sonero and everything came to nothing.
Source:
Facebook: RobertJeandor
Diario Digital Dominicano
Professor MSc. Carlos Colmenárez
Mauricio Silva with ¡fury!
Composer, arranger, producer, pianist, trombonist, vocalist and conductor he participated in the recording of more than 200 productions.
It is a great honor and the pleasant satisfaction of having one of the most prolific, successful and recognized Venezuelan musicians who works as a composer, arranger, producer, pianist, trombonist, vocalist and conductor as a special guest; who is also recognized by all salsa fans at home and internationally.
We refer to Mauricio Silva, who has a musical lineage inherited from his grandfather Manuel Silva Linares and his father Miguel Angel Silva; the latter stood out as the jazz bassist for Gerry Weil, Billo’s Caracas Boys, Los Melódicos and Orquesta de Porfi Jiménez, among others; his uncle Rafael Silva was considered one of the best and most experienced trombonists in Venezuela.
Some of his brothers are also musicians and include: Josué Miguel Silva (now deceased) and Daniel Silva, an outstanding bassist and singer in diverse orchestras nationally and internationally. His son Briant Silva and his nephew Harold Silva are part of the new generation.
Mauricio Silva was born in Caracas on December 30th and became interested in training very well in his profession from a very young age which is why he studied with great Venezuelan and foreign musicians.
He has participated in the recording of more than 200 productions. Some of them with: Sexteto Juventud, La Crítica de Oscar D’León, Wladimir y su Constelación, Dimensión Latina, Los Satélites, La Salsa Mayor, Arabella y su banda, Los Melódicos, Billo’s Caracas Boys, Silva y Guerra, Mauricio Silva y su orquesta, Oscar D’León, Cheo Valenzuela, Caribbean Magic, Porfi Jiménez, Salserín, Erick Franchesky, Guaco, El Trabuco Venezolano, Wílmer Lozano, Legacy of Venezuelan Salsa, Legacy of World Salsa, among others. His compositions include Se Necesita rumbero (recorded by Oscar D’León), Te haré feliz, Debe ser el amor and Canto al Madera.
To start this interesting interview, we want to welcome to Mauricio to “Salsa Escrita” the salsa column in which we support musical talent and promote the event of our Latin music nationally and globally through International Salsa Magazine www.salsagoogle.com.
Thank you very much Professor Carlos, the truth is that I am very happy to appera as a guest in your widely-read column and I want to send my greetings to your readers and followers, I am very happy to share with you.
Master Mauricio for us it is a pleasure to interact through this prestige means of communication, let me tell you that we consider you a great idol of our Afro-Caribbean music and want to know how you started liking music. Carlos, music means everything to me, it is my formula of life and I am in it as long as I can remember. Through many studies and divine support for everything I have done and although I am not the most successful in the world, I feel very satisfied with it.
Well Mauricio, by the way, by the time you were in the orchestra “La Crítica”, were you influenced by any musician?
Yes, when I was in La Crítica, I was very much influenced by Oscar D’León as the main factor, when I saw him playing and singing with that incredible swing, that definitely left its mark and listening to artists of the time such as Andy Montañez, El Gran Combo, Ismael Rivera, Héctor Lavoe, Celia Cruz and note that life allowed me to work with all of them;
because I worked with Hector, Celia, Oscar and many others from Puerto Rico, Cuba and my training was routed to tropical music by accompanying Daniel Santos, Celio Gonzalez, Alberto Beltran and the commitment was greater to know that they came from the Sonora Matancera and that is how my taste for music was cultivated.
When was the idea of singing born, Mauricio? Really, the idea of singing was not one of my goals, it dit not crossed my mind to be a singer, and moreover, being in front of an orchestra got me so nervous, since being behind made feel like a duck to water, conducting, playing, but not facing the public. I did not consider myself a singer, I simply have a normal ear to have a guide to melodies of the songs, the fact that I started singing was with “Salsa, Silva y Guerra”.
Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.
I made arrangements to two of my compositions for him: “Qué linda es la vida”, “Se va el amor”, and well, it was recorded on the island of Puerto Rico, that was spectacular, but the “Black Friday” occurred and costs doubled, so Manuel had to finish the production in Venezuela and then he asked me to help him finish it, we set up the trombone, chorus and I took him to ride the voice, but Manuel had tone problems with the songs, he did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him.
Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.
And yet, at the end, I ended up recording that album, which was called “Salsa, Silva y Guerra”, because I got involved with Manuel Guerra and the label Rodven decided to call it that, and there the singer Mauricio Silva was born without wanting to. I never intended to be a singer, so when it is for you, it is like you do not even take off and so begins my career as a vocalist. Mauricio, we understand that you participated in more than two hundred productions and that shows that you are a very active musician in the music industry due to your professionalism.
When was the idea of singing born, Mauricio? Really, the idea of singing was not one of my goals, it dit not crossed my mind to be a singer, and moreover, being in front of an orchestra got me so nervous, since being behind made feel like a duck to water, conducting, playing, but not facing the public. I did not consider myself a singer, I simply have a normal ear to have a guide to melodies of the songs, the fact that I started singing was with “Salsa, Silva y Guerra”.
Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.
I made arrangements to two of my compositions for him: “Qué linda es la vida”, “Se va el amor”, and well, it was recorded on the island of Puerto Rico, that was spectacular, but the “Black Friday” occurred and costs doubled, so Manuel had to finish the production in Venezuela and then he asked me to help him finish it, we set up the trombone, chorus and I took him to ride the voice, but Manuel had tone problems with the songs.
He did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him. Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.
And yet, at the end, I ended up recording that album, which was called “Salsa, Silva y Guerra”, because I got involved with Manuel Guerra and the label Rodven decided to call it that, and there the singer Mauricio Silva was born without wanting to. I never intended to be a singer, so when it is for you, it is like you do not even take off and so begins my career as a vocalist. Mauricio, we understand that you participated in more than two hundred productions and that shows that you are a very active musician in the music industry due to your professionalism.
Tell us: look, I had about 200 albums I had them computed, but I don’t know, I lost count.
For example, these days I met again with a musician from Barranquilla, we had already worked together in 1987 during a musical tour of the United States, me as a pianist in an orchestra and him as a timbalero, who is very famous in his city and I made an arrangement for him at that time and he brought back to that work and told me it was on Youtube.
So my participation has been as an arranger, musician, pianist, trombonist, choirboy, apart from the records I have served as a singer or as a guest.
I remember that I worked with “El Trabuco Venezolano”, artists from Panama, Puerto Rico, Colombia, naturally Venezuela, the United States, and Cuba.
I have done many things, both with salsa, boleros, bagpipes and much more, what happens is that I am more known in the salsa style, Venezuelan music, jazz, Bosanova, merengue, the Billo’s music, Los Melodicos, actively participating with them and salsa I have done work with Choco Orta from Puerto Rico, El Canario, Oscar D’León, Arabella, with the song’s arrangement I made of “Callejón” by Tite Curet Alonso; the truth is that I’m not complaining. Mauricio, by the way, an almost obligatory question, what have you made in such confinement by the pandemic there in Miami and how has Covid-19 affected you?
Tell us: well, the year 2020 was very difficult for all of us and the main thing that can never stop is the food and medicines supply; but entertainment and recreation is paralyzed and has timidly begun to move a little bit, but they have even stopped it again because the pandemic is still going on and here vaccination began here but the first to receive them will be the doctors, the nurses, elderly people, children and the general public, which, hopefully, will be the solution by 2021 and so artists will return to the stage.
I was affected by the coronavirus, it really hit me, solitary confinement for 15 days with many symptoms, but it detected with the exam, I did all medical treatment, I went through a lot of depression, but thank goodness I woke up much better one Sunsay and I said, am I cured? (laughter) then I had another test and it was negative, but it is an experience that has killed colleagues, friends and family; here in Florida, more than 2000 people are infected daily and 3000 people die every day in the whole country, but we remain optimistic with respect to work out airy.
Mauricio, do you have any upcoming project? Yes, there are always projects, I am producing new artists that will be know later on, but the global legacy of salsa is the most recent thing I put on the market, it is a tribute to salsa, so that the new generations can get to know that salsa that falled us in love in the 70s, 80s and 90s.
This is on all digital platforms and there is also the legacy of Venezuelan salsa. Likewise, the album “Billo’s Legendarios” in which I got the chance to be the arranger and in charge of the musical part of that production with the participation of: Carlos Vives, Oscar D’León, Charlie Aponte, Wilfrido Vargas, Sergio Vargas, Alex Bueno, Eddie Herrera, Don Fulano and Mily Quesada; in addition, the Venezuelan singer Karina and the vocalists of Billo’s Caracas Boys are special guests.
I am also working with the new from “Adolescentes” in its new phase from the hand of El Negro Mendoza.
I am doing the “Legendary Billo’s No. 2” and in talks with Gilberto Santa Rosa, Tito Nieves, Silvestre Dangon, Carlos Vives, who wants to sing the theme “La Casa de Fernando”, and also I am helping many colleagues because the world of the record has changed a lot, there are no longer record companies that support, so stay tuned to 2021 because very good productions are coming.
Mauricio, tell us, which singers have you accompanied in your successful career? Well, I had the honor of learning and playing with Alberto Beltrán, Celio González, Daniel Santos, those three singers from “Sonora Matancera”, we accompanied them with “La Crítica”, but even then, I accompanied Ruddy Márquez, José Luis Rodríguez, Oscar D’León, Celia Cruz, Héctor Lavoe, Justo Betancourt, Ismael Miranda, Eddie Santiago, Vity Ruiz, Maelo Ruiz, Tito Rojas (QEPD), Pedro Arroyo, Luisito Carrión, Rafu Warner, most of those artists from the 80s and 90s, and many more with whom I had the opportunity to be formed, musically speaking.
Mauricio, to finish, we have a friend in common, Nelson García “Nelsonero” in Barquisimeto, how was your work with him? Speaking of Nelson, is to talk about a great musician, a great person, from the first time I knew him, we were connected, we made a record with very few resources, but there was a magic of a talented boy who looked for a musician that is me and he put himself in his hands, and let them take him, although the songs are mostly from him or almost all the songs were from Nelson and I made those arrangements looking for a style with trombones and baritone sax, resulting in an album with a lot of heart, and from then on.
Many doors have been opened to Nelson for his way of being and he has traveled to many places in the world, and I really love him very much, I ask you to support him because he is one of those real talents, he is not made up, he is not manufactured, he is natural, that is Nelson de Jesus “Nelsonero”.
Dear Salsa fans, regular Salsa Escrita readers, we are very grateful to Mauricio Silva for the interaction we have had, give us a final message: Thank you Professor Carlos, of course, very grateful for allowing me to share in your widely read salsa column in which you promote and support the talent from my country and the rest of Latin America; I hope we can meet up again soon; I have a little bit of Barquisimeto, because I have an aunt who lives in the urbanization El Obelisco, I have cousins, godparents, Rafael Ure and a very big big greeting to all of them.
I love that city a lot, the “Musical City of Venezuela”, I have numerous friends there and I participated in orchestras such as: Nino y si Orquesta, La Banda Actual, they are all friends and we share a lot, so I send my greetings to all of them, thank you for this opportunity Professor Carlos Colmenárez “The Friend of the Salseros” and I hope to see you soon, we love you with fury!
See you next time and keep dancing salsa!