Search Results for: Héctor Lavoe

Johnny Andreu “Almendra”. Bandleader, percussionist and founder of Los Jóvenes del Barrio

Growing up and listening to music, he played with various objects around the house. Taking things seriously at the age of 16, he started with bongos, then congas and then timbales, which is the instrument he is best known for.

Andreu y Los Jovenes Del Barrio, the band was led by his ex-wife, the American born singer JILLIAN (1962-2009) able to charm you in two languages, a great loss at a young age, another victim of the scourge of our time, cancer. Blending elements of Charanga, Jazz, Typical Latin, the group dominated radio stations for a decade.

Brooklyn-born composer Johnny Andreu, who from an early age was introduced to and kept in touch with Latin rhythm through family influences, received his musical training at U.C.L.A., the “University on the Corner of Lexington Avenue. When he was 18, Mario Lebran, a musician with Ricardo Ray and author of ‘Mambo Jazz’, helped him get into the music business. He has learned a lot by listening to his records and playing his instruments.

Lebran Andreu also encouraged him to audition for his first job as a percussionist working for “Mike y Su Rítmico”. From there he moved on to the Bobby Matos orchestra whose pianist Paquito Pastor said one day he named him Andrews after Andreu. You are Latin, you are an ‘Almendra'”. That’s how Johnny Andreu became Johnny Almendra.

In the late 1960s he teamed up with Johnny Colon, they performed at the Corso and the legendary Cheetah, and after a year, Almendra and Louie Bauzo left to form their own band, Tambo.

This group lasted about four years and later worked with Almendra Charanga ’76, Orquesta Broadway, and the Típica Novel. Playing with Típica Ideal, he met Milton Cardona, who became a lifelong friend.

Band director, percussionist and founder of Los Jóvenes del Barrio. — Johnny Andreu “Almendra”

One day Cardona invited Almendra to see Willie Colón at Casa Borinquén, and as it turned out, they were in need of a timbalero. They invited Almendra who stayed for eight years.

During 1977 and 1978, Willie Colón Rubén Blades recorded history-making albums. A large number of the best musicians of the time were brought together, including Héctor Lavoe, percussionist José Cándido Rodríguez, bassist Víctor Venegas and many others. This material was released in 1998 for the RMM label.

For International Salsa Magazine through www.SalsaGoogle.com it is a great pleasure to review an artist of the stature of Jhonny Almendra, catalogued as one of the greatest percussionists in the city of New York for his ability and skill still in the forefront of Latin Music.

Johnny Almendra, Los Jóvenes Del Barrio Reconfirmando “1997”

Tracks

Todo el Mundo Necesita

Pasión Sin Freno

Hechicera

Everybody Plays the Fool

Borincuba

Zapato Apartao

Cumbiaranga

Compassion

Rent

Cold and Darkness, The

Hechicera Reprise/A-Files

Musicians

Regina Carter – trombone

Ozzie Meléndez – trombone

Ronnie Bar – backing vocals

David O’Quendo – flute

Karen Joseph – flute

Kimson Plaut – accordion, piano, synthesizer

Oriente Lopez – flute, synthesizer, backing vocals

Ray Sepulveda – vocals

Tito Nieves – vocal

Robert Thomas – violin

Sam Bardfeld – violin

Al Bello – percussion

Andreu Johnny Almendra – percussion

Frank Seguinot – vocal

Miles Peña – vocal

Sources:

https://lasalsaesmivida.com/johnny-almendra-y-los-jovenes-del-barrio-reconfirmando/https://www.pinterest.com/bobbymartell/johnny-almendra/

Article of Interest: What Ángel Meléndez has to say about his brilliant musical career

Papo Vázquez and his extraordinary career

His beginnings

As we all know, the United States has been the birthplace of a large number of Latin music stars who are dedicated to this group of musical genres in order to stay true to their roots. Such is the case of Angel Papo Vazquez, who was born in Philadelphia, Pennsylvania, but much of his training occurred in Puerto Rico, so he has always had a very special connection with the Island of Enchantment.

As a 14-year-old teenager, it was his uncle who recommended him to the first band in which he participated. It was around this time that he met famed trumpet player Jimmy Purvis, who would be his biggest inspiration to focus on jazz and start to show interest in trombone. The following year, the boy had already acquired enough experience to perform with local orchestras and accompany renowned artists such as Eddie Palmieri.

A few years later, he decided to move to New York, where he would rack up most of his musical accomplishments to date. It was there that he performed and recorded along with some of the greatest Latin musicians such as Héctor Lavoe, Willie Colón, Ray Barreto, Larry Harlow and many others. He was hardly 20 years old when he had already toured the world and showed his talent to all types of audiences he could find on the way.

This is Ángel Vásquez — Papo Vázquez playing his trombone

His groups and orchestras

Another reason why he is so well known is for being one of the founding members of Ford Apache and Conjunto Libre de Jerry Gonzalez, but these are just some of the groups of which he was part. He was also in Tito Puente’s Latin Jazz Ensemble. It was with the King of Timbales with whom he achieved recognition as a lead trombonist and experimented a lot with jazz, a genre for which he was already fascinated at a very young age.

After all the experience gained so far, Vasquez was able to start merging certain Afro-Caribbean rhythms that allowed him to innovate in jazz and Latin music in general. He was based on many of the things he learned and heard in Puerto for this.

As early as the 1980s, Papo was mixing bomba jazz, which is basically a mix of jazz and traditional Puerto Rican bomba. In the 90’s, he recorded his first album as a bandleader and collaborated with a lot of Latin jazz artists who greatly appreciated his talent, resulting in great discographic works that are still remembered to this day. One of them was the one he made with certain New York personalities, which is a live recording that included the participation of recognized figures such as American saxophonist Michael Brecker, New York bassist Andy Gonzalez and many more.

This project was called Pirates & Trobadours – At the point Volume 1 and evolved as such that it include more musicians who had no trouble joining the trombonist in this adventure. The group that made the album did many tours and performed at music festivals all over the world. They were so successful that they continued to make new editions throughout the years. In fact, one of Vasquez’s latest albums was Papo Vázquez Mighty Pirates Troubadours – Chapter 10: Breaking Cover, which was released in 2020.

Ángel Vásquez performing — Papo Vázquez paying trombone in one of his performances

By: Johnny Cruz correspondent of International Salsa Magazine in New York City, New York

Henry Valladares, a brilliant, versatile, and disciplined percussionist

Our special guest this week is Henry Valladares, a brilliant, versatile, and disciplined percussionist, born on October 22nd in Barquisimeto, Lara State, to a mother from Caracas and a father from Yaracuyo.

Welcome Henry to Salsa Escrita, we would like to know how were your musical beginnings? Thank you Professor Carlos for your invitation to your well-read column. My interest in music began when I was 6 years old since I was very young I listened to salsa records by artists such as Héctor Lavoe, Willy Colón, Rubén Blades, Gran Combo, Sonora Ponceña, and all those acetate records of the time that arrived from Caracas, thanks to my mother who bought them, and in particular the record by José Mangual Jr. (Tribute to Chano Pozo) where at the end of the record there were some tracks where they taught the basic rhythms of salsa percussion (conga Milton Cardona, timbal Jimmy Sabater and the bongo José Mangual Jr.)

That would be my first influence in percussion. I remember that in those years there was a church very close to my house and I listened to the drums and bagpipe drums and I wanted to play and I built my own drum, I made it with a paint dipper and I put a piece of plastic with wick string (that was my first instrument hahaha).

born on October 22nd in Barquisimeto, Lara State, to a mother from Caracas and a father from Yaracuyo — Henry Valladares, a brilliant, versatile and disciplined percussionist

Very good maestro Valladares and at what age did you begin to acquire musical knowledge in a formal way?

At the age of 8, I started my first percussion classes formally dictated at the CEPAS cultural center in San Jacinto, with professor Francisco Escalona in congas and for bongo with professor Wálter Yaguas, later I received training at the BIGOTT foundation (Afro-Venezuelan percussion) in the city of Caracas with professor Jesús Paiva and music and rhythmic reading classes with professor Jesús Blanco (Totoño), as well as different workshops and courses.

I remember one in particular dictated by the percussionist Wílmer Albornoz from Caracas and the percussionist, Pausides Jiménez, from Barquisimeto, there I learned a lot and in the Conservatory of Music Vicente Emilio Sojo of Barquisimeto with professor Tonny González, without forgetting the videos made for the years 1996, 1997 and 1998 by the teachers Giovanni Hidalgo and José Luis Quintana (Changuito), who raised my level of knowledge in the conga, timbal, and bongo.

Much of the training of a percussionist is by his own research and the training is never lost, you continue learning every day.

In what year did you start playing at the orchestral level?

Professor Carlos, in 1994 I started playing in nightclubs with regional groups, playing in groups such as Orquesta la Playa, Nino y su Orquesta, Orquesta Líder, and with most of the dance groups in the city.

Have you accompanied national artists?

Yes, friend Colmenárez, I have accompanied artists such as Billo Caracas Boys, Wladimir Lozano, Néstor Rivero (former teenagers), Betsy Núñez (bolerista), Eli Méndez, Rafa Galindo, Verónica Rey, Memo Morales, Édgar Rodríguez (El Abuelo), Wílmer Lozano, Rodrigo Mendoza, Benjamín Rausseo (Conde del Guacharo), Fabián Santa María, among others.

Have you recorded? I have recorded in different musical productions and artists of different genres.

Henry Valladares, a brilliant, versatile and disciplined percussionist — His interest in music began at the age of 6

Since 2003 to date I am a percussionist and assistant musical director of the Latinocaribeña orchestra, belonging to the Maestro Antonio Carrillo Concert Band, the heritage of the state of Lara (135 years old) making presentations in theaters and different places inside and outside the city.

I continue to study Afro-Caribbean instruments and teach in-person and online classes, also giving workshops.
In 2019 I celebrated my 25 years of a musical career, which I celebrated with a very special workshop held at the Conservatory of Music in Barquisimeto.

Henry, what are your next goals? To finish putting together my Latin jazz group.
Well Henry Valladares, for us it was an immense pleasure to have you in our salsa column praising your dedication and discipline in the Afro-Caribbean genre in the percussive part.

And on behalf of International Salsa Magazine www.salsagoogle.com, we congratulate you for your performance representing Barquisimeto.

Thank you very much Professor Carlos for the invitation, long live percussion, and keep on supporting musicians from Barquisimeto and Venezuela.

What are your social networks? Email: [email protected]; Facebook: Henry Valladares and Instagram: @valladarespercusion.

See you next time and let’s keep salseando!

Article of Interest: Cheo Valenzuela, “El Sonero de la Dulzura”

Luisito Ayala and his Puerto Rican Power ¡Somos el Poder!

Luis César Ayala, known as Luisito Ayala is a native of Humacao, Puerto Rico.

His beginnings in music date back to his fifteenth year, performing as a trumpet player and director of the student group “Combo Estudiantil”.

At the age of sixteen, he began as a professional trumpet player in the Orquesta Panamericana, Willie Rosario, and Willie Rodriguez.

In the early 70’s the bassist and first director Jesús “Chuy” Castro founded the Puerto Rican Power Orchestra. Chuy was studying medicine and decided to dissolve the orchestra.

Luis César Ayala, known as Luisito Ayala, is a native of Humacoa, Puerto Rico. — Luisito Ayala and his Puerto Rican Power ¡Somos el Poder!

In 1978 Luisito Ayala acquired the rights of the orchestra and became its new director and trumpet leader.

This new stage and for six consecutive years the Puerto Rican Power Orchestra accompanied all the Fania Records artists that visited the enchanted island of Puerto Rico, among these famous stars were: Celia Cruz, Cheo Feliciano, Pete “El Conde” Rodríguez, Vitìn Avilés, Santitos Colon, Ismael Miranda, Héctor Lavoe, Paquito Guzmán and others.

By 1983 Luisito incorporated to his orchestra the quoted singer Tito Rojas “El Gallo salsero” as lead vocalist, from that moment the history changed. Puerto Rican Power became one of the most powerful orchestras in the salsa scene.

At the end of the 80’s, it became the stellar orchestra when it joined the cast of the record label Musical Productions (MP).

It was so successful that later the company decided to launch Tito Rojas as a soloist.

His time with Musical Productions and the Puerto Rican Power Orchestra spanned 9 years where he recorded great and important productions such as: Puerto Rican Power, Con más Poder, Con todo el Poder, El Da más Poder, and Poderoso pero Diferente.

Tracks such as “Noche de Bodas”, “Quiéreme tal como Soy”, “Juguete de Nadie”, “A Donde Irás”, “Emergencia de Amor”, and “Quiero Volver Contigo” have taken him around the world with his music.

The release of the album Con todo el Poder, in 1992, had a monumental impact on the public, the song “A dónde Iras?” led them to obtain local and international awards such as La Campana de Oro, El Combo de Oro, El Buho de Oro, Diplo’s, Paolis, Tu Música and nominated to the prestigious Billboard Awards.

In 1999 he became part of the record label J&N Records.

Luisito Ayala and his Puerto Rican Power ¡Somos el Poder! — In 1978 Luisito Ayala acquired the rights to the orchestra and became its new director and trumpet leader.

He continues with his overwhelming success with the productions: Men in Salsa, Wild Wild Salsa, Salsa Another Day and Éxitos Más, spreading with intensity the songs “Tu Cariñito”, “Me Tiene Loco”, “Doctor”, “Si Pero Na”, “Pena de Amor”, “Cuando me faltas Tú”, “Mi Mujer es un Policía” among others.

Another important production for the Puerto Rican Power Orchestra was “Salsa of the Caribbean”. a conglomerate of rhythm and flavor that got everyone dancing.

In 2009, Luisito Ayala takes another successful step in his musical career by presenting the recording “Luisito Ayala y La Puerto Rican Power…¡30 años de Power! A compilation of his most acclaimed live hits available in DVD and CD formats, this tour of famous songs includes 13 tracks including: “Quiéreme Tal Como Soy”, “Noche de Bodas”, “¿A dónde Iras?”, “Tu Cariñito” and Juguete de Nadie”.

In 2009, Luisito Ayala took another successful step in his musical career by presenting the recording "Luisito Ayala y La Puerto Rican Power...¡30 años de Power! — “Luisito Ayala y La Puerto Rican Power…30 years of Power!

His next musical work under the Latin Word Records label entitled A Otro Nivel! with the musical direction of maestro Julio “Gunda” Merced with his hit “Tengo Miedo” in the voice of the legendary Jose Feliciano.

The production shined with the participation of the outstanding voices of Fania’s Niño Bonito Ismael Miranda, Javi Marrero, Kittin Santiago, and Luisito Ayala Jr.

For 2014 and Luisito Ayala y la Puerto Rican Power returns with a masterpiece of modern Puerto Rican salsa entitled “Somos el Poder” is a mix of romantic and danceable material that sets a standard in the tropical genre.

That said the album highlights the common threads of salsa with a lot of swing and a Big Band sound, the first single titled “Dímelo Tu” in the youthful voice of Joshua Marcell, has become an anthem in Puerto Rico.

Marcell and the other singers Norberto “Gazu” Millón and Luisito Ayala Jr. come in with a new outfit and a new style for the group.

Another highlight of this album is the stellar posthumous tribute to Luisito’s son Braulio Ayala with Tony Vega, Tito Rojas, Ismael Miranda, Pedro Brull, Tito Nieves, and other salsa stars.

Once again Ayala presents us with a production of great variety and commercial appeal… ¡Somos el Poder!

For 2019 Ayala and the Puerto Rican Power bring us their most recent production titled 40 años de Poder.

Para el año 2019 Ayala y la Puerto Rican Power nos traen su producción titulada 40 años de Poder.

Contact:

Mambiche Records

Luisito Ayala Tel: 787-649-4440

Email: [email protected] / Wed: www.puertoricanpower.com

Article of Interest: Celso Clemente Torres is considered one of the best-sounding bongos in the world.

Rubén Blades’ National Tour

Review of Rubén Blades’ National Tour

The Ruben Blades concert at Oakland’s Paramount Theatre on Saturday, November 20th was sensational! The anticipation of the packed intergenerational crowd to his first visit In 18 years was at a high peak.

Rubén Blades while singing — Rubén Blades while performing

Blades wowed the audience with a stunning performance backed by bassist Roberto Delgado’s dynamic Big Band.

Rubén Blades and his orchestra — Rubén Blades and Roberto Delgado’s Big Band

Ruben’s powerful voice was as crystal clear as when he started his career with Ray Barretto back in 1974.

Rubén Blades' great voice — Rubén Blades’ voice was incredible

Latin Grammy for Salswing!

His set list was a retrospective into his vast and deep repertoire that included his big hits, crowd favorites, esoteric song choices and selections from his Latin Grammy award winning album Salswing!

Rubén's stage — The lighting environment on stage was amazing and varied

The musicianship that accompanied Blades was top notch as Roberto Delgado’s crack band were tight, explosive and swinging!

Ruben's band — The performance of Roberto Delgado’ band was very appropriate for the show

The visuals projected on the huge screen above Ruben were imaginative displaying photo tributes to Hector Lavoe as well as to recently deceased Latin music giants and clever animation that was the backdrop for songs.

Tribute to Pérez-Bidó — Tribute to Carlos Pérez-Bidó displayed by the screen above Ruben Blades

This was a triumphant return to the SF Bay Area for Blades who last played a concert here in 2003 at Roccapulco.

Blades in front of his orchestra — Triumphant return to the San Francisco Bay Area for Rubén Blades

He performed for 2 hours and 40 minutes to the delight of the massive crowd. What a show!!

Blades' two-hour show — Rubén Blades’ two-hour show delighted the audience

BY LUIS MEDINA, PRODUCER AND HOST OF CON SABOR ON KPFA 94.1 FM AND SABIDURIA CON TUMBAO ON WORLD SALSA RADIO.COM