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José Alberto “El Canario” and his orchestra enjoy a great international reputation in the Latin music scene.
His start in music was as a drummer, then as a bongo player, with some 48 years in Latin music and as a sonero, today in International Salsa Magazine through www.salsagoogle.com, José Alberto Justiniano Andújar, better known artistically as José Alberto El Canario, was born on December 22, 1958 in Villa Consuelo in Santo Domingo Dominican Republic.
El Canario began to have a passion for music from a very young age, first playing drums, bongo and timbales, at the age of 7 his mother Adalgisa, recognized dancer of the golden age of “Radio-Televisión Dominicana”, took him to live on the island of Puerto Rico, as a professional dancer she had to perform in important international theaters.
El Canario began to study in a military school in Las Antillas, then in 1970 he moved with his father to New York, where he began to sing with several orchestras, receiving international attention as the leader of the Típica 73 in October 1977, where he earned 25 dollars for each presentation and recognized it as his university in the life of art.
José Alberto credits his compadre Roberto Geronimo for his successful artistic career. Geronimo discovered him as an artist and managed him for many years. El Canario also sang merengue at the onset of his musical journey.
In 1983, José Alberto established his own band and gained fame as a major Latin star after his debut album Noches Calientes released in 1984.
Jose Alberto is a renowned singer who has recorded numerous chart-topping hits, including “Sueño Contigo”, “Hoy Quiero Confesar”, “Te Voy a Saciar de Mi”, “A Gozar”, “Es Tu Amor”, and “Quieres Ser Mi Amante”, among others, for his 1988 album Sueño Contigo and several others.
His inimitable voice and unmatched improvisational skills have earned him international acclaim. Jose Alberto has collaborated with several contemporary artists such as Johnny Rodriguez, Mario Rivera, Nicky Marrero, Oscar D’Leon, and Celia Cruz.
José Alberto “El Canario” has earned multiple gold and platinum records due to his high number of album sales.
He has achieved success not only in the United States and Europe but also throughout Latin America, including his native Dominican Republic, Puerto Rico, Peru, Venezuela, Panama, Colombia, Ecuador, and Costa Rica.
The nickname “El Canario” was bestowed upon him by a New York disc jockey who christened him so in a disco due to his improvisational skills; “Canta canario” was the catchphrase he would belt out through the control microphone.
José Alberto ‘El Canario’ and his Orchestra have gained immense international recognition in the Latin music industry.
His musical prowess and captivating voice make his live shows some of the most thrilling performances.
El Canario, winner of the “Congo de oro” in 2005 – an award given to the best musical groups presented at the Festival de Orquestas del Carnaval de Barranquilla – and of three Latin Grammys in 2013, 2015 and 2018, is one of the undisputed artists of Latin music with a career spanning some 48 years.
Throughout his career, José Alberto El Canario has gained international recognition for his unique voice and style, but also, according to his biographies, for his improvisations on stage.
Also Read: Jimmie Morales a conguero for the history of Afro-Caribbean music
Founder and owner of Guapacha Productions Gil Tower
Talk with Gil Tower
From this platform, we have had to interview many famous Latinos who have left their countries and Latin culture in general on high, but today is the turn of a very special one. We are talking about the talented Venezuelan musical director and multi-instrumentalist Gilberto Torres, better known as Gil Tower in the artistic environment.
Thanks to a mutual friend, we have managed to make contact with Gil Tower, who from the beginning has been very accessible and willing to share everything related to his work in the music industry and his contribution to the Latin cultural scene, so we are very grateful to him for giving us the opportunity to hear his great story.
Below, we share the topics covered in a conversation that was as enjoyable as it was enlightening.
Musical beginnings in his home country
Gil Tower always knew that he wanted to devote himself to the world of music. When he was about five years old, he began watching television programs related to classical music and zarzuela. Several of his aunts were zarzuela teachers and took him to see zarzuela orchestras, which was great for him. In fact, several of those musicians he got to see play on these occasions ended up teaching him when he began preparing to become an artist.
One of the most important institutions in the training of Gil is the National System of Youth and Children’s Orchestras and Choirs of Venezuela (El Sistema), where he was trained directly by maestro José Antonio Abreu, a fundamental part in the path which this young musician would take later in his career.
He joined the children’s orchestra, advanced all the way to the youth orchestra and finally reached a more professional level in the national orchestra. At about this time, Gil recalls that ”maestro Abreu always said that we were rich because we had an instrument in hand and could change the world through music. As a child, I didn’t understand what he was getting at. Now I do understand and I think he was absolutely right.
”Abreu was a unique influence on me because he transformed me as a person and musician. He also made me become a leader, as he had always wanted me to be,” he continued.
Learning from the groups he was in
As to the learning acquired in the many groups he worked with, Gil singled out Carlos Rojas, who was a musician and jazz lover. Carlos took the initiative to give a workshop in La Pastora (a very important area of the city of Caracas, Venezuela).
As a teenager, Gil used to go to La Pastora to learn to improvise with Carlos in salsa, as he liked this genre so much ever since. This is how he started learning about harmonies and taking his first steps as a composer.
When given the chance to play with the group Los Morrillos, he learned a lot about gaitas and other Venezuelan rhythms from the western region of the country. In the case of the group Madera, he learned (and keeps learning) a lot about Afro-Venezuelan music in general.
After that, he met Jesús ”Chucho” García, who is an intellectual, activist and author of several books on Afro-Venezuelanity. Together they formed a group called Cimarrón, with which they represented Venezuela at the International Jazz Plaza Festival in 1989. To date, they are still very good friends and continue to learn about this great musical branch from one another.
Why move to Germany?
His initial plan was to move to the United States to continue his studies in Berkeley, but he was unable to obtain the required visa at the time. However, that would not be the end of his dream.
It turns out that some friends of his from the group Madera went on a Germany tour and stayed to live there. Then, one of them, Felipe ”Mandingo” Rengifo offered him to join them to work in that country and try to be admitted in one of their conservatories. At the time, Gil only had a saving of $1,000, with which he took a gamble.
Although he had to play in the streets and wash bathrooms at the beginning, he achieved his goal of entering a conservatory, an institution that gave him the opportunity to fix his papers to have a legal status in Germany. Having solved this inconvenience, he was able to focus his attention on his musical project Guapacha (name in honor of a great Cuban drummer who lived in the parish of San Agustin del Sur, Caracas).
All this experience was preparing him for when he could finally achieve his goal of going to the United States.
Arrival in the United States
While still in Germany, Gil was invited to participate in a jazz festival in the United States, specifically in Montana. He did so well that he amazed many musicians with whom he shared the stage that day and exchanged contact information for future events.
Later, he managed to play in San Diego and Boston, where he had the opportunity to share the stage with the Boston Power Orchestra and meet Danilo Pérez, Dizzy Gillespie’s pianist. The latter, in turn, recommended him to maestro Tito Puente, whom he met shortly thereafter.
This was how the artist managed to build a very respectable reputation in the industry through his talent. This is how he ended up playing with ”half the world” and building a great prestige as a musician and composer.
In addition to singing and playing multiple instruments, Gil has also taught low-income youth in order to spread the knowledge he has gained throughout his career. He even created an orchestra composed of children whose parents have no resources or documents in order to help them learn music and provide them with better work-study opportunities in the future. Some have even got into college and obtained scholarships thanks to this knowledge.
Parallel to these activities, he began composing and making arrangements for other artists who began to require his services.
Guapacha Productions
On the subject of Guapacha Productions, Gil says that the idea came when he began researching on the music industry, licensing, distribution and other things.
The musician saw an opportunity to achieve his dreams during the pandemic, which is when he noticed that many artists had no idea how to register a composition and how other necessary licenses to collect their royalties from their music works.
Noticing the ignorance of many young talents about the industry, he created the company Guapacha Productions, which is responsible for the musical production and arrangements for artists signed to this label.
When asked how the economic issue was handled for artists who do not have the resources to launch their career as it should be, he explained that there are three types of music distributors: major labels, labels created by the artists themselves and independent companies like Guapacha Productions. We are a group of independent artists who created our own label and we are trying to have our own distribution, so we would not be obliged to negotiate with any big distribution company” explained Gil.
Along with that, it is Guapacha Productions that will make agreements with Spotify, iTunes and other digital platforms to distribute the music of its artists without intermediaries.
The company has been so successful in these efforts that its name will soon be part of the Latin Grammys, which means that the talents signed to the label will have the chance to stand out and be finalists in the various categories.
Cheo Valenzuela’s ”Salsa Buena” Tour
With respect to the important issue of Cheo Valenzuela’s ”Salsa Buena” tour (artist signed to Guapacha Productions) in Europe, there are negotiations with some event producers in France, Spain and England so that Cheo Valenzuela can perform at various venues in those countries. There are also talks of taking the artist to Central America and the United States, specifically to San Francisco, where Gil lives.
In addition to that, Valenzuela is working on an EP with five songs by other artists and another one with five compositions created by himself. Being already a singer with a long-standing career, this last work would also become him a consacrated composer before the world. Once all this material has been released, his name is going to be considered for a Grammy nomination, which Gil has a lot of faith that he will win due to his great talent.
At the time of doing this interview, Valenzuela is taking a few days off due to the death of his mother, so we send our condolences and solidarity to him and his family at such a difficult time.
The decade in which Eddie Palmieri faced the Erotic or Romantic Salsa
There are leaders in all the activities that man develops in his daily life: Sports, Labor, Student, Political, Musical, even in comic strips you can see these leaders all the time, showing the way to follow and saving humanity from its natural dangers.
El Zorro with his friend Bernardo, his father Alejandro and even with Sergeant Garcia and Corporal Reyes, saved California from the clutches of El Aguila, marking the way forward for the peace and freedom of his people.
In salsa, the same thing happens; there are musicians who set themselves up as leaders who dictate the path, the routes, the itinerary and the route where salsa should go, establishing through their musical performances where others should be guided on their way to certain triumph.
For salseros in general, Eddie Palmieri represents El Zorro of the comics, the leader to follow, the paladin of salsa, only that instead of looking like Diego de la Vega in physique, he looks more like Sergeant Garcia; backed by Ismael Quintana who would be El Cabo Reyes and Barry Rogers who would be Alejandro de la Vega.
It is no secret that Eduardo Palmieri is one of the initiators of the salsa movement in New York; but more than that, this master of the piano has established the paths along which salsa has walked since the 1960s.
Eddie was one of the first musicians to use the trombone as a determining instrument in the conformation of an orchestra, giving it a preponderance never seen before and with a sharp and hurtful sound that forced a large number of musicians to follow this type of orchestration that ended up imposing itself in the so-called salsa boom.
La Perfecta determined the path to follow; they recorded anthological albums in the 60’s that were the delirium of the salsa movement lovers; many musicians began to see and hear how the tonality of this orchestra sounded different from those big bands of the 50’s; the people of the neighborhood immediately identified with this sound because, they thought, it sounded like a neighborhood, a slum, poverty, marginality, inequality, it sounded like spite, nonconformity, injustice; in short, with this sound they perceived the most expensive needs of a population marginalized from the great plans of the State that entailed advancement and progress.
The decade of the 70’s meant the explosion of a salsa boom that swept the entire Caribbean basin; orchestras came and went; they came and disappeared; they recorded and were immediately lost in anonymity, but most of these orchestras chose the musical patterns of a common denominator to carry out their musical proposals: A Crazy, Bearded and Barrigón Orate named Eddie Palmieri, as the Colombian writer José Arteaga called him.
Eddie, throughout this decade, was practically on the sidelines of the salsa boom and it could not be otherwise: Too much irreverence from a superior musician who, being clear where salsa should walk, refused to be part of all the outrages that were committed during that salsa explosion.
Too much rebelliousness from an artist who refused to be told what he should and had to record: “Nobody tells me what I have to record and how I have to record; I’m the one who knows how to make music, the label bosses can go to hell with their desks”, an angry Palmieri would say.
The record label Epic signed him in 1978, telling him that he had complete freedom to record the music he wanted: a lie. He recorded the Lp Lucumi, Macumba and Vodoo where he was practically forced to work on an album where rhythms and trends were mixed.
He took advantage of the only freedom he was given to record two legendary songs: Colombia Te Canto and Mi Congo Te Llama.
Bad management and ill-advised decisions put an end to the whole salsa movement that was born in the 70’s and the unthinkable happened for all the lovers of this tasty way of life: the whole musical scaffolding that represented the Fania label collapsed, leaving everyone with clear eyes and without sight.
Clouds of disbelief and uncertainty hung over the entire salsa movement, musicians, producers, artist managers, arrangers, record label owners and, those who were most hurt by all this, the lovers of this superb spectrum of hard and powerful salsa that was experienced in the 70s.
In the 80’s, faced with this dilemma and the perplexity of the moment, most of the orchestras took refuge in the so-called Salsa Erotica or Salsa Monga, which although it is true that it gave oxygen to salsa in general, it inflicted a death blow to salsa dura or gorda as it has been called since the 70’s.
As if that were not enough, the merengueros with: Fernandito Villalona, Jerry Legrand, Jossie Esteban y la Patrulla 15, Wilfrido Vargas, Rubby Perez, Las Chicas del Can and stop counting, colluded with salsa erotica (as El Aguila colluded with El Magistrado), to try to wipe salsa dura off the map and at any price.
At the beginning of the 80’s; under all this conglomerate of adverse circumstances; the merengueros and “salseros eroticos” making a killing and the hard salsa artists not knowing which direction to take, Líder Palmieri appeared with his stocky and ungainly figure, a huge cigar in his mouth, his madness (we are even madder) and his voice saying clearly, categorically and confidently: “Follow me, this is the road to follow”.
And so that there would be no doubt about this call against Salsa Erotica and Merengue, in 1981 he recorded the Lp “Eddie Palmieri” which, almost 30 years after its release, we are still studying and listening to it to digest what El Sapo did in these 5 memorable songs: El Día que me Quieras; Ritmo Alegre, Paginas de Mujer, No Me Hagas Sufrir and Ven Ven.
Poster salsa on all four sides, atrabiliary percussion, indescribable trombones and trumpets, legendary voices, in short, a priceless LP. By the way, a certain current of opinion maintains that salsa is nothing more than Cuban music.
Under this prism, then we would have to say that this Palmieri’s version of Carlos Gardel’s El Día que me Quieras, is a full-fledged Tango.
In 1984 and when the “erotic” ones were widening their tentacles, Palmieri came with more fuel and that added to the bad experience lived in Venezuela with some businessmen who were determined to finish with him, musically speaking, allowed him to release the Lp “Palo Pa Rumba”, containing the pieces: 1983, Bomba de Corazón, Bajo con Tumbao, Pensando en Ti, Palo Pa Rumba and two songs dedicated to Venezuela because of the bitter and vexatious experience he had in our beloved homeland of names: Venezuela and Prohibición de Salida.
In 1985 the Lp “Solito” was released, a song that allowed Palmieri to tell the “eroticos” that there was a formula for arranging music that sounded strong and powerful, even if the content of the lyrics could suggest a certain shade of erotic salsa; that the trombones could sound energetic and strong without the sweetening and softness to which these hardened instruments were subjected in this decade; that it was not necessary to be bonitillo (as the Boricuas say) to succeed in this salsa environment and that, no matter what happened, he, Eddie Palmieri, was not going to be subjugated no matter how much salsa erotica the record companies demanded and played on the radio, emphasizing this statement with an abysmal piano solo.
To complete the LP: Justicia, Yo No Soy Guapo, Cada Vez que te Veo, Lindo Yambú and Pa Los Congos, round out his confrontation with “aquella” salsa.
To top off the decade, in 1987 he recorded the Lp “La Verdad”, in which with the piece El Cuarto in the voice of Tony Vega ratified his point of view regarding “erotic” salsa; that it is not necessary to fall into pornography to say “nice things” and arrange the music with enough flavor and sandunga and that, finally, nothing would prevent him from continuing to crush his opinion based on hard and powerful salsa.
As if that were not enough, for this album he made use of a beastly orchestra made up of four trumpets, two trombones and a saxophone that left on the acetate: Conga Yambumba, La Verdad, Lisa, Noble Cruise and Buscándote.
The result of all this decade of salsa gorda music for Eddie Palmieri? Three Grammy awards and the recognition of a whole legion of hardcore salseros, who were not intimidated by the onslaught of the “erotic” and “merenguera” fashions of the moment and decided, in the face of so much sweet, effeminate and subtle trombone, to follow in the footsteps of the leader: El Zorro, sorry I made a mistake, by El Sapo Eduardo Palmieri.
Source: Larry Daniel Cabello Guzmán
Dj. Augusto Felibertt
Read Also: Bebo Valdés is considered one of the central figures of the golden age of Cuban music
Soneros Birthdays Party
Soneros Birthdays Party
Omara Portuondo, Ismael Rivera, Jimmy Bosch, and Luisito Carrión celebrate their birthdays this month
October is filled with talent and it’s that in this month a hurricane of brilliant artists of the Salsero genre was born, who have captivated us and have shown their Gift before hundreds of audiences around the world. These Latin Stars have bathed us in SABOR with their lyrics and infected with joy with their melodies. It for that, this month we celebrate their births and dance to the rhythm of the applause towards them. Happy Birthday, Soneros!
Omara Portuondo (October 29, 1930)
Omara was born in La Habana (Cuba). Her first encounter with music was at a very early age. Just as in any other Cuban home, the future singer and her siblings grew up with the songs which her parents, for lack of a gramophone, sang to them. Those melodies, some of which still form part of her repertoire, were young Omara’s informal introduction to the world of music.
She and her sister Haydee sang well-known American group “Los Loquibambla” and their style, a Cubanised version of the Bossa Nova with touches of American jazz, was known as “Feeling”. In their radio debut, Omara was introduced as “Miss Omara Brown, the girlfriend of Feeling”.
“Magia Negra” was her debut record released in 1959. It combined Cuban music with American jazz and included versions of “That Old Black Magic” and “Caravan”, by Duke Ellington. Later she joined one of Cuba’s most important orchestras, La Orchestra Aragón, with which she recorded several albums, such as the one she did with Adalberto Álvarez in 1984 and “Palabras and Desafíos” on which she was accompanied by Chucho Valdés.
However, Omara Portuondo catapulted to her well-earned fame was in the mid-1990s when she collaborated in the recording sessions for Buena Vista Social Club on which she sang “Veinte Años”.
She was the star of the third launching of the Buena Vista Social Club released in 2000 and she toured Europe, traveled to Japan, and performed in the USA and Canada.
Omara went back to the studio to record her second solo album “Flor de Amor” (World Circuit), which was produced by Nick Gold and Alê Siqueira, signals a change in direction in her career: it is an album marked by a more subtle sound and a richness of texture. Portuondo brought in a mixture of Cuban and Brazilian musicians for this album, and it is this factor which influences the particular style of the music.
Omara returned to Europe in 2004 to promote this album, performing at such illustrious venues as the North Sea Jazz Festival, Marble Hill House in London, Olympia in Paris and the Concertgebouw in Amsterdam. “Flor de Amor” was nominated for a Grammy in the Best Traditional Tropical Record category and the 16th edition of the Billboard Latin Music Awards (2005); this album obtained the Tropical Record of the Year award.
Later, Omara released “Gracias”, the record that marks her sixtieth year in the music business and won the Latin Grammy Award for the Best Contemporary Tropical Album. It was a very special night as Omara was there to receive the prize in person and she also presented one of the awards, the first time that a Cuban artist has done this. The album was also later nominated for a Grammy in the Best Tropical Latin Album category.
After touring with the Orquesta Buena Vista Social Club in Europe during 2010, “the girlfriend of Feeling” released the latest recording, Omara & Chucho (Montuno Producciones) in spring 2011. 14 years after their last joint album, they reunite once again to continue unravelling the thread of their first joint project, and show us their talents in the simplest, most unclad manner on a context that enables them to lay emphasis on some of the features that been characteristic of their music at various stages in their careers.
Omara will also tour with the Orquesta Buena Vista Social Club later in Europe and the U.S.
Ismael Rivera (October 5, 1931 – May 13, 1987)
Puerto Rican singer and songwriter contributed to the dissemination of the island’s native rhythms such as the Bomba and Plena, and he was one of the first standard-bearers of the Salsero movement of the decade, the reason for he was called “El Sonero Mayor” and also known for others by the nickname “Maelo”.
In 1952 he was hired as a singer for the Lito Peña’s Orquesta Panamericana with which he became known and reaped his first hits: “La vieja en camisa”, “La sazón de la abuela” and the most popular “El charlatán”, a song in Plena rhythm that was widely heard through the Puerto Rico’s local radio stations.
Two years later he left this group to join the Combo de Cortijo with whom he popularized “El bombón de Elena” by Rafael Cepeda Atiles, and as well as performed on Puerto Rican television in the “El Show del Mediodía”.
At the end of the ‘50s, they were presenting their shows at the prestigious New York club Palladium Ballroom, where they contributed to making popular the tropical rhythms imported from the island with great hits such as “El negro bembón”, “Maquinó Landera”, “Tuntuneco ”, and others.
Ismael Rivera’s triumphant career was interrupted in 1962 for paying four years under the laws of Puerto Rico for possession of narcotics. Then, after recovering his freedom, Ismael formed his musical ensemble “Los Cachimbos” and immersed himself in the nascent Salsero movement to which he contributed two classics such as “Dime por qué” y “Mi negrita me espera”.
In the mid-70s “El Sonero Mayor” became the ambassador of Salsa throughout America, working for the record label of the genre Fania, and triumphing with emblematic songs such as “De todas maneras rosas”.
In his facet as a composer, he wrote very notable pieces such as “Besito de Coco” (famous song by Celiz Cruz), “El incomprendido”, “Arrecotín, arrecotán”, “El que no sufre no vive”, y “Mi libertad eres tú among many others.
In his last years, he suffered a throat cancer that caused him to lose his voice and he died as a result of a heart attack. R.I.P MASTER!
Jimmy Bosch (October 18, 1959)
Jimmy Bosch was born in 1959 (New Jersey, U.S.). He is a world-renowned Trombonist, composer, singer, and bandleader in the world music genres. He has been performing professionally since age 13. Jimmy’s first two solo CDs, “Soneando Trombón” and “Salsa Dura” established him as the Ambassador of the Salsa Dura movement. He ignited this movement by combining old school quality salsa arrangements with a modern NY aggressive edge and socially conscious lyrics. “El Avión De La Salsa” demonstrates and solidifies his commitment to dancer centered music, while “A Millón” is the title of Jimmy’s 4th solo record released.
Appearing in over 100 recordings, Bosch “El Trombón Criollo de La Salsa” has garnered at least 10 Grammys and has toured with his orchestra, his sextet or as a solo artist, as well as with: Eddie Palmieri, Ruben Blades, Celia Cruz, Ray Barretto, Willie Colon, Manny Oquendo y Libre, FANIA Allstars, and the list goes on.
Jimmy has been featured throughout the world in major venues and festivals, including; Carnegie Hall, Lincoln Center (NYC), Celebrate Brooklyn (NYC), Montreal Jazz (Canada), Madison Square Garden (NYC), Sydney Opera House (Australia), Barranquijazz (Colombia), El Poliedro and Teresa Careña (Venezuela), and many other important places.
Luisito Carrión (OCTOBER 26, 1962)
A native of Arecibo in Puerto Rico, Luisito Carrión has been singing since he was 13 years old. He began his career as a Salsa artist with the Orquesta Kafe, Orquesta La Nativa and Grupo Concepto Latino.
In his first performances, he sang along with Celia Cruz, Adalberto Santiago, and Santitos Colón. Later on, he was a member of Salsa Fever together with Julio “Gunda” Merced, were several hits come from: “Renta de Amor” and “Señores ahí va Julián”. Afterward, he joined the Bobby Valentín Orchestra, where he sang songs, such as: “El Señor de las Señoras”, “Ramos de flores”, “El Gigoló”, “Tributo de Cali” and “Como lo hago yo”. In his evolutionary process, Luisito joined the Orquesta Don Perignon where he sang “La Fuga” and later with the Sonora Porceña, where he performed songs, such as “Yaré” and “A Comer Lechón”.
In 1997, he recorded with Roberto Roena y Su Apollo Sound “Mi música 1997”. At the end of the 90s, Carrión began his career as a soloist with the record company MP Records with Julio “Gunda” Mercéd and Rafael Bodo Torres, which led to hits, such as: “Sin tu amor”, “La Chica Más Popular”, “Nadie Como Tú”, “Porque”, “Amiga Mía”, “Muriendo”, “Como Ave Sin Rumbo” and “Para Ser Real”. Nowadays, Luisito Carrión is one of the best Puerto Rico’s Soneros bringing on “Histeriaaaa…” in his fans.