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Asia / December 2023
Asia / November 2023
Alfredo De La Fe, is responsible for transforming the violin for Latin Music
Latin America/ Colombia/ Cali
Alfredo de la Fe is a Cuban-American violinist based in New York, who also lives in Colombia.
He is responsible for transforming the violin into a sound much more suitable for Salsa and Latin music, as well as having manufactured and patented his own violin. De la Fe began studying the violin at the Amadeo Roldán Conservatory in Havana in 1962.
Two years later, he receives a scholarship to enter the Warsaw Conservatory, in Poland.
In 1965, he soloed compositions by Mendelssohn and Tchaikovsky with the Metropolitan Opera Orchestra at Carnegie Hall.

A scholarship at Juilliard opened new doors for him. De la Fe began his professional career, at the age of twelve, when he switched from classical music to Salsa, and accepted an invitation to join charanga legend José Fajardo’s Orchestra.
In 1972, he joined the Eddie Palmieri orchestra. He was a member of the group for a very short period, temporarily moving to San Francisco, where he met Santana. Returning to New York, De la Fe joined Típica ’73 in 1977. Two years later, he released his debut solo album, Alfredo.
In 1980, De la Fe signed with the Fania All-Stars, and produced thirty-two albums for Fania Records. His second solo album, Charanga ’80, was released in the same year.
In 1981, De la Fe became musical director of Tito Puente’s Latin Percussion Jazz Ensemble.
The following year, he confirmed his solo career, signing with Taboga, for whom he recorded the album Triunfo. He settled in Colombia in 1983, and signed with Philips; As a result of this, he released three albums: Made in Colombia, Dancing in the Tropics and Alfredo de la Fe Vallenato, at the end of the 80s.
In 1989, De la Fe signed with Discos Fuentes. Although he was one of the members of the Fania All-Stars for 1995, De la Fe continued his solo career.
He signed with Sony Music in 1997. Two years later, he toured with his own orchestra, appearing at festivals in Denmark, the Netherlands, France, Turkey, and Belgium, and reuniting with Eddie Palmieri and his orchestra for a European tour.
In 2002, after several years in Europe, Alfredo moved back to New York and visited the US with his New York band, led by pianist Israel Tanenbaum.

Other musicians including bassist Máximo Rodríguez, percussionists Tony Escapa and Johnny Pequeño Rivero, and autistic Andrea Brachfeld.
Discography Solo albums
- 1979 : “Alfredo”
- 1980 : “Alfredo de la Fe y la charanga 1980”
- 1981 : “Para África con amor”
- 1982 : “Triunfo”
- 1984 : “Made in Colombia”
- 1985 : “Alfredo de la Fe Vallenato”
- 1990 : “Salsa”
- 1990 : “Los violines de Alfredo de la Fe”
- 1992: “Los violines de Alfredo de la Fe vol. 2: Sentir de Cuba”.
- 1993 : “Con toda la salsa Alfredo de la Fe”
- 1995 : “La salsa de los dioses”
- 2000 : “Latitudes”
- 2006 : “Alfredo de la Fe y Fruko (La Llave de Oro)”

Session Artist and Collaborations:
-
- 1973 : “The Sun de música latina” por Eddie Palmieri & Amigos Con Lalo Rodríguez
- 1976 : “De ti depende” por Héctor Lavoe
- 1977 : “Selecciones clásicas” por José Fajardo
- 1977 : “El Baquine de Angelitos Negros” por Willie Colón
- 1978 : “Comedia” por Héctor Lavoe
- 1979 : “Típica 73 en Cuba – Intercambio cultural” por Típica 73
- 1979 : ” Necesito tú” por Sylvester
- 1980 : “Charangueando con la Típica 73” por Típica 73
- 1980 : “Señor Charanga” por José Fajardo
- 1982 : “Encima Broadway” por Tito Puento
- 1997 : “Bravo” por Fania Todo-Estrellas
- 2001 : “Diferente” por José Alberto (El Canario)

Mario Bauza
North America / United States / New York
Mario Bauza, Pioneer of Afro-Cuban jazz in New York, Clarinetist, saxophonist, trumpeter and arranger
Mario Bauzá (Havana, April 28, 1911 – Manhattan, July 11, 1993) was a Cuban saxophonist, clarinetist, trumpeter, arranger and composer.
Known above all for having been the musical director of the Machito orchestra (of whom he was also a brother-in-law), he was a pioneer of what is now known as Afro-Cuban jazz.

Bauzá played the clarinet in the Havana Philharmonic Orchestra. However, after traveling to New York in 1927 with the Antonio María Romeu orchestra, he was so impressed by the Big Bands of Paul Whiteman, Fletcher Henderson and Tommy Dorsey, and by the Harlem music revues, that in 1930 he decided to emigrate definitively to USA.
During the trip, he became friends with Antonio Machín. Mario Bauzá would return on the same boat in which Don Aspiazu’s orchestra was travelling, who immediately began the arrangements to record El manisero.
Upon arriving in New York, Bauzá went to live in Harlem with his cousin, the trumpeter René Endreira. Bauzá began playing the saxophone at house parties with pianist Lucky Roberts and began to absorb African-American culture.

Between 1930 and 1931, he was a trumpeter in the Antonio Machín quartet and made important recordings with this group in New York City. Anecdotally, it is said that he had learned to play the trumpet in just two weeks.
His first jobs were with the orchestras of Cass Carr, Noble Sissle and Sam Wooding.
In 1933 he entered Chick Webb’s orchestra as first trumpet, where he ended up as music director. He then worked with Don Redman and Fletcher Henderson, eventually landing Cab Calloway.
Being in that band, Mario brought the young trumpeter Dizzy Gillespie to the orchestra.
Bauzá married Estela Gutiérrez, sister of Francisco Raúl Gutiérrez Grillo, known as Machito.
On December 3, 1940, he debuted with Machito at the Park Plaza, a dance hall, with the Afro-Cubans, later working for almost four years at the La Conga club.
Bauzá works for Machito as artistic director, taking care of the arrangements and hiring the musicians.
The style of the Afro-Cubans mixes the son montuno of Cuba with features of swing bands.

Thanks to this, musicians like Dizzy Gillespie or James Moody introduced Afro-Cuban rhythms into jazz, starting in 1947.
He became interested in jazz when he heard Frankie Trumbauer play the saxophone performing Rhapsody in blue with the Paul Whiteman orchestra.
In the forties, Mario will develop the sound of Afro-Cuban jazz. His work as a clarinetist, trumpeter, saxophonist and arranger in the Machito orchestra constitutes one of the main pillars in the emergence and development of that Cuban genre.






























