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Erika Muñoz, official administrator of the portal “Se Armó la Rumba en México”, www.SalsaGoogle.com and International Salsa Magazine present the Puerto Rican David Morales.

Born in San Juan, Puerto Rico. Son of a seamstress and a furniture upholsterer. He began his studies at the Federico Asenjo and Albert Einstein School in Barrio Obrero where he grew up.

He graduated from Juan Ponce de Leon High School in San Jose and then entered the University of Puerto Rico completing his Bachelor’s Degree in accounting, through a scholarship that ironically he won through an audition he performed in the UPR choir.

At the age of 11 he began working delivering newspapers and years later he worked selling household products. Since he was a child he had two great ambitions: to be a singer and to be an airline pilot. At the age of ten he was already singing the songs of the orchestras of the moment such as Willie Colón and Héctor Lavoe, Ismael Miranda, Raphy Leavitt (RIP) and his Orquesta La Selecta, Roberto Roena and his Apollo Sound, Oscar D’León’s La Dimensión Latina and Oscar D’León’s La Dimensión Latina.

Dimensión Latina de Oscar D’León and Jimmy Urbina’s Orquesta Revolución 70 among others.

The first time he saw an orchestra perform in person was Orquesta Revolución 70, who sang at the Placita Barceló in Barrio Obrero and while singing their hit song Soy de Borinquén, David was fascinated by the music and discovered that his desire was to become a salsa singer someday. It was precise with Revolución 70 that David years later would be initiated into music as a singer.

Maestro Jimmy Urbina, director of Revolución 70 was preparing to record an album and it was in this way that Maestro Mario Ortiz (RIP) recommended him for the orchestra. After auditioning as a singer David joined the group and recorded an album where he sang 5 songs of the production along with singers Dino Guy and Angelo Pacheco.

During his artistic career, one of the orchestras that most captivated and inspired David was Raphy Leavitt’s Orquesta La Selecta.

With him, David had the opportunity to sing and from that moment on, the maestro became his mentor and they created a friendship that lasted forever.

In 1982 David had to give up music because he entered the military service where he achieved his dream of becoming a helicopter and airplane pilot. At the end of the 80’s he returned to Puerto Rico and returned to music, singing with the orchestras of Tommy Olivencia, Conjunto Chaney, Omar Alfanno, Manolo Lezcano, Aldo Mata, José Nogueras and Paquito Acosta. He was also a singer in the orchestras of Willie Rosario, Roberto Roena y Su Apollo Sound, Orquesta La Solución, and Orquesta Costa Brava, where he had the opportunity to record the production “A Pico y Pala”. During this same period the producer and arranger, maestro Carlos “Cuto” Soto baptizes David Morales as “El Piloto”.

David Morales as “El Piloto de la Salsa” (The Salsa Pilot), becoming known by that name within the salsa scene. David Morales had the opportunity to travel to many places around the world to sing with several famous orchestras within the genre.

He has also had the opportunity to sing as a guest with orchestras of the stature of El Gran Combo de Puerto Rico, Oscar D’León, El Gran Combo de Puerto Rico, Tito Nieves, Don Perignon and La Corporación Latina, among others.

After the passage of Hurricane María, in September 2017 David was invited to participate in the recording “Entre Amigos in the recording of “Entre Amigos Después de la Tempestad” with Luis González El Tsunami de la Salsa and Nino Segarra; production that took place together with several singers of trajectory in Nino’s recording studio.

Recently he has just recorded his first album as a soloist, under the direction of pianist, composer, and arranger, maestro Pedro Bermudez, who was David’s partner for many years in Willie Rosario’s orchestra. This production is quite varied, as it includes classic salsa, romantic salsa, boleros, and Cuban salsa, respecting the traditions of the masters and founding fathers of the salsa genre.

All the songs are oriented to the dancer.

There are compositions by Pedro Bermúdez, Ángel Santos, Peter Velázquez, Pablo Milanés, Gloria González, Jimmy Sánchez and Osvaldo Noel, Yturvides Vilchez and Michel Puche.

The arrangers are Pedro Bermúdez, Tommy Villariny, Ramón Sánchez, Carlos Torres,

Tito Rivera and Cuto Soto. It also features the participation of José Alberto “El Canario” as a guest singer in the song titled “El Piloto y El Canario”.

Thanks to all who made possible this record production which was always inspired for the dancer.

Enjoy!!!!

Facebook: David Morales-El Capitán de la Salsa

[email protected]

s[email protected]

Phone: 5529778401

Article of Interest: Chevy “El Pitirre De La Salsa”

By: Erika Muñoz from “Se Armó la Rumba en México”

60 years in the business in the “Salsa” music industry, Héctor Maisonave says: “I have not seen anyone who surpasses the talent of Héctor Lavoe”.

You have managed the careers of so many salsa luminaries, how do you consider Héctor Lavoe’s talent?

I saw in Hector a supreme talent, to this day I have not seen anyone who can surpass him.

Not only as an artist selling tickets, selling records, but also as a human being.

There is no comparison of any kind, no matter who the artists are that are current today, to this day there has been no one that can replace Hector Lavoe.

He continues to this day as the most successful artist in all aspects.

He has managed and catapulted the careers of stars such as Héctor Lavoe, La Lupe, La India, Ismael Rivera, Tito Rodríguez, Gilberto Santa Rosa, among others.

“I continue to derive satisfaction from my work, my main addiction,” said the Puerto Rican producer.

With almost 60 years in the difficult and no less unpredictable music industry, today, on his 81st birthday, the artistic promoter Héctor Maisonave looks back to see that nothing remains the same in the business, but even so, his “musician soul” does not allow him to give up.

He has been a faithful witness and an important part of Latin American musical history, as a tireless promoter of the salsa rhythm in every corner of the planet.

His resume is impressive; he has produced more than 6,000 events; he has managed and catapulted the careers of some 80 artists, including stars such as his namesake Héctor Lavoe, Tito Rodríguez, La Lupe, India, Ismael Rivera, Raphy Leavitt, Gilberto Santa Rosa and La Sonora Ponceña.

And his experience has been recognized on more than one occasion by the artistic world.

In 2010, this veteran businessman received the “Lifetime Achievement Award” from the Lincoln Center of New York, a distinction for his years in music production and management.

On that occasion, Diana Cortot, executive director of International Concert, the non-profit institution that presented Maisonave with the award, said that he was chosen because of the great help he has given to so many artists and his efforts to create a market for Latin music in the United States. “The Latin music industry, and salsa in particular, owes him a lot,” she said.

To this, the award-winning businessman, with the humility that has characterized him in each of his acts, simply said: “I don’t feel special, but privileged and honored”.

Born in Old San Juan, Puerto Rico, Maisonave was part of a great migratory stampede of Puerto Ricans who traveled to New York in the 1940s to escape poverty.

“It was here, in this city, where I took my first steps as a producer in the summer of 1950.”

Even at this age, memory remains one of his best attributes.

“I began to organize concerts in open spaces that attracted hundreds of people, who arrived in some buses that we arranged for the public, and they were like a kind of patron saint festivities in which transportation, food, dessert and dancing were offered… That was the beginning of everything,” he recalls while, suddenly, a special gleam begins to appear in his eyes.

That was the time when she discovered what her vocation was. But he also had to raise his voice, fight hard for his goals and defend his roots. He was even one of those who protested on New York’s iconic Fifth Avenue so that the New York City government would grant him permission to hold a Puerto Rican parade.

“There were many inconveniences that got in the way, but there are more beautiful memories that light up my mind when I think of the dreams achieved,” confesses the man who had the idea of organizing Latino shows aboard boats that crossed the Hudson River to Bear Mountain.

And aware that, as he says, “turning 81 is not an everyday thing,” he says he is very happy to continue fighting the battle. “I continue to get enormous satisfaction from my work, my main addiction,” said this industrious Puerto Rican with his usual good humor.

Lately, his schedule has been as active as ever. From April to date, he has organized concerts for Grupo Mania and Tito Rojas (both in Philadelphia, Pennsylvania); José Alberto, “El Canario”, and Andy Andy at Six Flags New England, Springfield, Massachusetts, and next month he will be in charge of the presentation in Panama that salsa singer India has scheduled.

Source: Frank Manuel Orellana Rosas

Article of Interest: Richie Bonilla Management is a Latin Music booking and Managing Agency

International Salsa Magazine / www.SalsaGoogle.com supporting the diffusion of amusement

Coca-Cola Music Hall offers the perfect stage for scenic events and legendary entertainment. This cutting-edge concert hall will change the music industry and live entertainment in Puerto Rico. Inauguration in August 2021!

Come to our opening with El Gran Combo de Puerto Rico “La Universidad de La Salsa” on August 28th. We will be the first salsa orchestra to perform in this new and trendy lounge, you really shouldn’t miss it!

PROCEDURES FOR STOPPING THE SCALE OF COVID-19

We are delighted to welcome you to Coca-Cola Music Hall while addressing the important health and safety needs of our guests and employees. We have worked diligently with health authorities to improve our already strict health, safety and cleaning measures.

ACCESSIBILITY

Our goal is to create that magic in the first time for all who come to Coca-Cola Music Hall by providing a memorable experience in receiving our guests with a smile, providing assistance, and outstanding service.

TICKETS TO ACCESSIBLE SEATING

Accessible seating is available at all events at Coca-Cola Music Hall. These are available at all levels of the venue and can be bought through the Ticketpop website by clicking on the accessible seating button located at the top left of the page where you can read “Buy Tickets”.

In addition, accessible seating is available at the ticket office at Coca-Cola Music Hall. Adjacent sets are available for companions depending on the availability.

ADDITIONAL SERVICES

ACCESSIBLE PARKING

Accessible parking is available beside Coca-Cola Music Hall at the Puerto Rico Convention Center for vehicles that show a handicap license plate issued by the State. These positions are assigned according to arrival, first-served basis, so we urge you to take this into account.

Places to drop off and pick up guests who are next to the ticket office.

ELEVATOR

The elevator is accessible to visitors who need help and is located on the esplanade of the main entrance at Coca-Cola Music Hall.

SERVICE ANIMALS

Service animals are welcome at Coca-Cola Music Hall and will rest in the seating area for the guest with a disability instead of the corridor.

It is recommended that people with large-sized service dogs occupy accessible seats for wheelchairs so that they do not block spaces.

PASSENGERS FOR WHEELCHAIRS

Coca-Cola Music Hall customer service provides free wheelchair escort to those visitors who request it. Passengers for wheelchairs can be requested from one of our service representatives or security officers at any entry point.

Please note that our staff members will not stay with you during the event, nor shall you be permitted to remain in the wheelchair of the venue during it. Upon request, our Service Representative will walk you to the door following the end of the event.

Coca-Cola Music Hall is the venue for the most important concerts and special events in the country. The place has internal systems of staging, sound, and lighting, a LED video wall, and a capacity for up to 5,000 guests. Seven full-service bars are conveniently located around the hall to maximize flow, efficiency, and customer experience.

Coca-Cola Music Hall is a unique space for special events, corporate meetings and other function shows like awards ceremonies, galas, graduations, receptions, coming-out parties, private events, etc.

For all of the above, both our staff and International Salsa Magazine invite you to attend our facilities.

Address and Contacts

250 Convention Boulevard

San Juan, Puerto Rico 00907

Box Office: (787) 425-0900

Box Office Hours:

Monday-Friday 10 AM to 5 PM

https://www.cocacolamusichall.com/

Article of Interest: Son Divas with new energy

 

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On July 20, 1969 the orchestra “El Apollo Sound” of the great Puerto Rican musician Roberto Roena was born. Together with trumpeter Elías Lopés he founded “El Apollo Sound”.

This name comes from the first rehearsal of his group, which coincided with the day of the launching of the Apollo rocket to the moon.

Roberto Roena recorded 10 albums in nine years for the Sello Internacional, part of the Fania label, and although he was not a great student of music, he was able to surround himself with very good musicians and use his talent to form his own group, which is now in its fiftieth year.

It is indisputable that the most popular orchestra in Puerto Rico and South America during the 70s was Roberto Roena’s Apollo Sound.

“Lucky 7” was his seventh release in front of Apollo with the Fania International label, after his discreet debut as leader with Los Megatones and after a fruitful career as bongocero of Rafael Cortijo’s Combo and Rafael Ithier’s El Gran Combo.

With “Lucky 7” Roena consolidated his popularity on a continental level thanks to the arrangement of an innovative song that challenged the schemes of the overwhelming salsa sound institutionalized in New York during the decade: “Mi desengaño”, by Julio Merced and Pucho Soufront.

In 1976 the Apollo and its new singer Papo Sánchez, pride of Hatillo, climbed the charts with a nostalgic lyric inspired by unrequited love. In his arrangement, trombonist Merced himself incorporated the cadence of the samba, linked through its bars with a son covered with the nuances of bossa nova, jazz and bomba.

The hit “Mi desengaño” invited many to reinvent their sound and reformulate their proposals in salsa, with more elaborate arrangements and harmonic sophistication, such as those made in New York by Marty Sheller for Willie Colón.

In addition to the brilliant debut of Papo Sánchez, the excellence of “Lucky 7” rested on the arrangements and orchestrations of such great musicians as trumpeters Luis ‘Perico’ Ortiz and Elías Lopéz, pianists Papo Lucca and Jorgito Millet and the King of the Bass, Bobby Valentín.

The sequence begins with the guaguancó “Que me castigue Dios”, performed by Sammy ‘El Rolo’ González, Apollo’s star singer until “La 8va. Maravilla”, their next album. In “Que me castigue Dios” we hear at the end the then incipient Rubén Blades with the declamation of some verses that today would deserve the repudiation of feminist organizations, but that in 1976, were applauded by the prevailing macho sociology in the industry:

May my mouth dry up/If I ever kiss you again/And if I ever look at you again/May my eyesight blur/I’m tired of your bad breath/I never reproached you/Your feet smell too/And I know that not even the worms/With you they wouldn’t get their hands on that day you die/You a cow and I a horse with class/I wish a truck would run over your head/Pa’ que salga la sucieza con que tú a mi me me trataste.

“Lucky 7” was also an LP that satisfied the expectations of the dancer. Although many may have crossed themselves dancing to the samba of “Mi desengaño” and the fusion of “Que me castigue Dios”, the merengue “La mala maña”, arranged by Conjunto Quisqueya pianist Chokie Acosta, the pachanga with cumbia “Estás equivocada”, the composition “A bailar mi bomba” by Arsenio Rodríguez and the guaguancós “Me le fugué a la candela”, “La hija de la vecina” and “Fea” pleased the couples who in those days overflowed halls such as Rancho Luna, El Moroco and El Carretero.

There is no doubt that the best oiled edition of the orchestral collective Apollo Sound was precisely the one that intervened in “Lucky 7“, led then by flutist Miguel Rodriguez, trumpeter Mario Cora, timbalero Cuqui Santos, conguero Papo Clemente and trombonist Julio Merced, who later defected with singer Papo Sanchez to found the band Salsa Fever. Three decades after its release it is an irrefutable affirmation.

 

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