• Skip to primary navigation
  • Skip to main content

International Salsa Magazine

  • Home
  • Previous editions
    • 2025
      • ISM / September 2025
      • ISM / August 2025
      • ISM / July 2025
      • ISM / June 2025
      • ISM / May2025
      • ISM / April 2025
      • ISM / March 2025
      • ISM / February 2025
      • ISM / January 2025
    • 2024
      • ISM / December 2024
      • ISM / November 2024
      • ISM / October 2024
      • ISM / September 2024
      • ISM / August 2024
      • ISM / July 2024
      • ISM / June 2024
      • ISM / May 2024
      • ISM / April 2024
      • ISM / March 2024
      • ISM / February 2024
      • ISM / January 2024
    • 2023
      • ISM / December 2023
      • ISM / November 2023
      • ISM / October 2023
      • ISM – September 2023
      • ISM – August 2023
      • ISM July 2023
      • ISM Edition June 2023
      • ISM – May 2023
      • ISM April 2023
      • ISM March 2023
      • ISM February 2023
      • ISM January 2023
    • 2022
      • ISM December 2022
      • ISM November 2022
      • ISM October 2022
      • ISM September 2022
      • ISM August 2022
      • ISM July 2022
      • ISM June 2022
      • ISM May 2022
      • ISM February 2022
      • ISM January 2022
    • 2021
      • ISM December 2021
      • ISM November 2021
      • ISM October – 2021
      • ISM September 2021
      • ISM August 2021
      • ISM July 2021
      • ISM May 2021
      • ISM April 2021
      • ISM June 2021
      • ISM March 2021
      • ISM February 2021
      • ISM January 2021
    • 2020
      • ISM December 2020
      • ISM November 2020
      • ISM October 2020
      • ISM September 2020
      • ISM August 2020
      • ISM July 2020
      • ISM June 2020
      • ISM May 2020
      • ISM April 2020
      • ISM March 2020
      • ISM February 2020
      • ISM January 2020
    • 2019
      • ISM December 2019
      • ISM November 2019
      • ISM October 2019
      • ISM Septembre 2019
      • ISM August 2019
      • ISM July 2019
      • ISM June 2019
      • ISM May 2019
      • ISM April 2019
      • ISM March 2019
      • ISM February 2019
      • ISM January 2019
    • 2018
      • ISM December 2018
      • ISM November 2018
      • ISM October 2018
      • ISM September 2018
      • ISM August 2018
      • ISM July 2018
      • ISM June 2018
      • ISM May 2018
      • ISM April 2018
      • ISM March 2018
      • ISM February 2018
      • ISM January 2018
    • 2017
      • ISM December 2017
      • ISM November 2017
      • ISM October 2017
      • ISM September 2017
      • ISM August 2017
      • ISM July 2017
      • ISM June 2017
  • Download Salsa App
    • Android
    • Apple
  • Spanish

Search Results for: Jazz

Beatriz Márquez Castro, an exponent of romantic songs, “Feeling” and Bolero

Beatriz Márquez Castro is a singer, composer, and pianist, born on February 17, 1952, in Havana.

Beatriz Márquez Castro. Cantante, compositora y pianista
Beatriz Márquez Castro. Cantante, compositora y pianista

She is the daughter of the prestigious composer and performer René Márquez. She began her artistic career in 1968.

An exponent of romantic songs, “feeling,” and bolero, she gracefully delved into these genres, performing pieces by prolific authors such as René Márquez, Marta Valdés, Juanito Márquez, Silvio Rodríguez, and Germán Nogueira, among others.

Her mezzo-soprano range has enabled her popular “descents” to low tones, as well as her unexpected and no less appreciated “ascents” to much higher tessituras, without losing her defining style. This style is very appropriate for songs and boleros, genres in which she has remained one of Cuba’s leading cultivators.

She is known as “La Musicalísima.”

We are witnessing the realization of a long-cherished project with which the performer, pianist, and composer Beatriz Márquez settles a debt both on a family level and within Cuban discography.

After several years of searching through archives and old recordings, thanks to the collaboration of Cuban audiovisual producer Felipe Morfa, it was possible to prepare “Este encuentro” (Colibrí Productions, 2023). This album features a selection of known and unreleased pieces by singer and composer René Márquez Rojo (1914-1986), some of which were popularized in their time by internationally renowned figures like Antonio Machín or the Puerto Rican Daniel Santos, to name just two examples.

Beatriz Márquez Castro, an exponent of romantic songs, "Feeling" and Bolero
Beatriz Márquez Castro, an exponent of romantic songs, “Feeling” and Bolero

Given the influence René had on the career of his daughter and grandchildren, this is an album full of love and, above all, gratitude.

While he was best known for his songwriting, it is important to highlight the mark he left as a charanga singer.

Among others, we can mention his work with the charangas of violinist Cristóbal Paulín, Oscar Muñoz Bouffartique, and René Touzet.

He debuted at the Mil Diez radio station with the group led by Julio Cueva, to which he dedicated himself for ten years.

From the late 1930s onwards, the lyrics by the artist from Villa Clara quickly resonated with the public.

“El Inquieto Anacobero” recorded “El disgusto de bigote” with the Sonora Matancera in 1949 and also sang other Cuban songs such as “Soltando chispas,” “A San Lázaro,” and “El granito de maíz.”

René’s songs, among which “El quinqué” cannot be missed, speak of his natural ingenuity for storytelling.

Upon his death at 72, he left a musical legacy that has since been defended by his descendants.

In over five decades of her artistic life, Beatriz has become her father’s most faithful interpreter, having recorded songs for several albums such as “No respondo,” “Explícame por qué,” and the now famous “Espontáneamente,” initially included in the LP “Es soledad” (Egrem, 1970) and re-recorded on multiple occasions.

In “La Musicalísima”‘s discography, prior to this material, there were only two phonograms exclusively dedicated to the work of a single author: “Beatriz canta a Juan Almeida” (Egrem, 1978), followed forty years later by “Libre de pecado” (Colibrí Productions, 2018), a tribute to maestro Adolfo Guzmán, thus contributing to the rescue of the island’s musical memory.

“Este encuentro” spans traditional trova and moves from guaracha to son, without forgetting some of the composer’s most notable boleros.

It also allows us to appreciate René Márquez’s interpretive qualities by hearing his voice, rescued from old recordings.

The special participation of singers Evelyn García and Michel Maza, continuators of the family saga, is noteworthy.

Now, the 2015 National Music Award winner and the main architect of this phonogram invites us to explore René Márquez’s immense body of work, one that will by no means be forgotten, across eleven tracks._ Jaime Masó

Beatriz Márquez - Este Encuentro (2023)
Beatriz Márquez – Este Encuentro (2023)

Beatriz Márquez – Este Encuentro (2023)

Tracks:

  1. Este Encuentro
  2. La Vida Es Un Momento
  3. Muchachito Inocente
  4. No Respondo
  5. Nunca Habrá Distancia
  6. Soltando Chispas
  7. En El Cielo De Mi Vida
  8. Imposible Amor 09. Popurrit 10. Espontáneamente 11. Mi Placer

By:

L’Òstia Latin Jazz

Augusto Felibertt

Ecured

Instituto Cubano de la Música

Also Read: Enrique “Culebra” Iriarte, master of the piano and musical composition

Los Surik is a musical group formed in Victoria, Las Tunas, in eastern Cuba

Los Surik, a musical group from Las Tunas a province known for orchestras recognized both nationally and internationally has distinguished itself in the Cuban music scene for its excellence.

Los Surik is a group that was created in Victoria Las Tunas, in eastern Cuba.
Los Surik is a group that was created in Victoria Las Tunas, in eastern Cuba.

This group of fifteen musicians (four of whom are vocalists) was established in Victoria, Las Tunas, in eastern Cuba.

They began their professional careers in 1982, focusing on harmonious arrangements through the use of complex structures, all in service of preserving the authenticity of the genres they perform, such as son, guaracha, merengue, song, and bolero, among others.

Los Surik used to rehearse at the home of José Luis Borrel, across from the old La Gran Señora store (at the intersection of Lucas Ortiz and Julián Santana streets). Later, they moved their instruments to Benny Revuelta’s house, on Gonzalo de Quesada street, at the corner of Lucas Ortiz.

This orchestra has stood out in the world of music in Cuba for its excellence.
This orchestra has stood out in the world of music in Cuba for its excellence.

Los Surik’s repertoire included, among other pieces, classic Spanish and American pop songs, and instrumentals that Benny would recreate with his saxophone. Pablín (now deceased) was an excellent singer, later a finalist on the TV show Todo el mundo canta. Paco Mesa also shone as a vocalist. Catalá was comfortable on the drums, as was Omarito on the bass. The speakers in the photo were designed by José Luis Borrell, who, in addition to being a musician, was a great electronics enthusiast.

In 1994, the group released an album titled Alma Musical (CD (Magic Music 0003-3)). Some of the songs from this album were number one in Cuba at that time.

Los Surik holds an interesting first in their career: its members ushered in the era of discography in Las Tunas, by recording the first long-play record in the territory in 1985. The album features 12 tracks, most of which were authored by group members, and it was recorded at Siboney studios in Santiago de Cuba. Due to its foundational nature, the album is an invaluable piece for the cultural heritage of Las Tunas.

Group Photo and Member

This photo was taken in the 1980s at the home of actress and promoter Blanquita Becerra (center), during the time when this once very popular and distinguished lady of Cuban lyrical theater resided in Las Tunas.

Among other members of the musical collective pictured are Arturo Gooden, Alberto Bada, Benny Revuelta, Gerardo Leyva, Raúl Cáceres, Héctor Aguilar, and Rafael Diez.

At that time, Los Surik was composed of the following musicians:

  • Julián Galbán Cruz – Bass
  • Fernando E. Quintana – Saxophone
  • Herminio García Rodríguez – Trombone
  • Gastón H. Allen Binhan – Trumpet
  • Rolando Portillo Cedeño – Trumpet
  • Arnaldo García Estrada – Keyboards
  • Eldo A. González Mantilla – Piano
  • Pablo S. Machado Palmero – Congas
  • Edilberto Machado Alba – Timbales
  • Luis Alfonso Guerra Ramírez – Bongos
  • José Eugenio Marín Tejeda – Vocals
  • Virginia Iznaga Cantero – Vocals
  • José Manuel Arnedo Rodríguez – Vocals
  • Francisco G. Mesa Marrero – Vocals

Lost Treasures and Alma Musical

Los Surik - Alma Musical (1994)
Los Surik – Alma Musical (1994)

Almost all the orchestra members were composers of the songs they performed. Sadly, many of these songs were never recorded on any album, so we cannot enjoy the high quality of the tracks they created. Only a lucky few had the chance to enjoy them live in concerts they gave outside of Cuba.

Los Surik – Alma Musical (1994)

Tracks:

  1. Dame Un Traguito (Son)
  2. Estoy Romántica (Ballad son)
  3. Amor De Película (Son montuno)
  4. El Cantante Enamorado (Son)
  5. Lo Que Cae Es Candela (Son)
  6. A Ese Le Llaman Parejero (Son montuno)
  7. La Fuerza Del Amor (Merengue)
  8. Juanita Morey (Merengue)
  9. La Luna Compartir (Ballad son)
  10. Voz Universal (Son)
  11. La Noche Junto A Ti (Bolero)

Musicians:

  • Julián Galbán Cruz (Bass)
  • Fernando E. Quintana (Saxophone)
  • Herminio García Rodríguez (Trombone)
  • Gastón H. Allen Binhan (Trumpet)
  • Rolando Portillo Cedeño (Trumpet)
  • Arnaldo García Estrada (Keyboards)
  • Eldo A. González Mantilla (Piano)
  • Pablo S. Machado Palmero (Congas)
  • Edilberto Machado Alba (Timbales)
  • Luis Alfonso Guerra Ramírez (Bongos)
  • José Eugenio Marín Tejeda (Vocals)
  • Virginia Iznaga Cantero (Vocals)
  • José Manuel Arnedo Rodríguez (Vocals)
  • Francisco G. Mesa Marrero (Vocals)

By:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

EcuRed

Also Read: Septeto Nacional de Ignacio Piñero has played an important role in Cuban music for over seven decades.

Oscar D’León’s La Crítica was founded in Caracas in 1978

La Critica by Oscar D’León

We had just returned from New York when “Chiquitín,” Oscar D’León’s longtime secretary, called us at the office to let us know there was a commotion in the “Faraón de la Salsa’s” office.

Oscar D'León's La Crítica was founded in Caracas in 1978
Oscar D’León’s La Crítica was founded in Caracas in 1978

It was about the defection of some musicians from the Orquesta La Salsa Mayor. Indeed, Leo Pacheco, Felipe Blanco, and other musicians had decided to leave for financial reasons.

The news caused a stir; Oscar had already achieved a very special sound. He had moved away from the trombones that characterized his style and had incorporated a brass section with trumpets that made a difference. Suddenly, he was without his powerful machinery. Leo and his group formed what was called Nuestra Orquesta La Salsa Mayor, and Oscar, without a second thought, reassembled his group alongside Enrique “Culebra” Iriarte.

La Crítica

No one should doubt that Oscar had a tough time, but the prestige he had gained and the popularity of the sonero allowed him to come out on top.

Paul González, the son of “El Guajiro” González, a veteran guarachero and who at the time served as manager for the now-called “Sonero del Mundo,” devised the orchestra known today as La Crítica to avoid future setbacks and to have an orchestra on hand to alternate in scheduled dances.

 

La Critica de Oscar D’ León
La Critica de Oscar D’ León

The project’s formation brought together pianist and arranger Mauricio Silva, percussionist Radamés Pimentel, and Teo Hernández, who would serve as vocalist.

Since 1978, La Crítica emerged as an exceptional group. The jazz influences infused by Mauricio Silva from the very beginning were crucial for the public to accept the band as a favorite. In that “beginning,” other significant names included “Cheo” Navarro and Gustavo Quinto, who were already known from their time with Grupo Mango.

It could be said that Teo Hernández was the newest to the scene, as he had only been “toiling” in the world of salsa for five years, although he already had a “summa cum laude” after recording with maestro Ray Pérez and his Dementes. A female voice would debut with the orchestra: Gladys Torres.

40 Years of La Crítica

There have been many setbacks and successes over 40 years.

The musicality of this successful group is to be celebrated this Saturday, June 16, at the BOD Cultural Center. The event is at 5:00 in the afternoon, when the salsa public will gather en masse.

La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.
La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.

Jorge Collazo, who was Oscar D’León’s press chief and now is La Crítica’s on their return, tells us that a spectacular night is being prepared, “an evening to remember, a show that no salsero should miss.

The original singers will be there: the sonero Teo Hernández and Gladys Torres, who will take the stage accompanied by top-tier musicians and luxury guests to celebrate, dance, and sing the well-known hits of the moment, we are talking about ‘Se necesita rumbero,’ ‘Amada ven,’ ‘La merenguita,’ ‘Madre,’ ‘Rumba rumbero,’ ‘No lloraré,’ ‘A él,’ and ‘Cruel desilusión,’ among others.”

La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.
La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.

The prestige gained by La Crítica allowed it to accompany great international soneros such as Justo Betancourt, Héctor Lavoe, Ismael Miranda, Ray de la Paz, Daniel Santos, and the legendary Celia Cruz.

This is part of La Crítica.

Also Read: Cheo Linares is a Singer, Composer, Sonero, Poet and Caraqueño

Tribute to Alberto Naranjo and his musicians

Latin America / Venezuela / Caracas

40 years of El Trabuco Venezolano A Deserved Tribute to Alberto Naranjo and his musicians

Teresa Carreno Theater. Caracas, Venezuela August 21 to 25, 2017
Collaboration and Photographs by Lysbeth Weffe

From August 21 to 25, at the Teresa Carreño Theater (TTC), in Caracas, the Tribute to maestro Alberto Naranjo was held for his 57 years of artistic life, and to the group of his creation El Trabuco Venezolano for its 40 years of founding . With a long time of preparation and a lot of love involved, as it said in the hand program and was perceived in the environment, the event had the general production of Franklin Rojas, the Grupo Madera Foundation and the Teresa Carreño Theater Foundation.

Alberto Naranjo and Noel Mijares
Alberto Naranjo and Noel Mijares

More than an orchestra, El Trabuco Venezolano has been an authentic Venezuelan salsa movement born from the initiative of Alberto Naranjo, a veteran drummer and arranger who has walked the trade through the most diverse tendencies and schools of popular music in the Caribbean, always counting with the direct support of the musical producer, Orlando Montiel(I).

It was at a recital conference given by César Miguel Rondón and Domingo “El Flaco” Álvarez at the Museum of Contemporary Art in Caracas, in August 1977, that El TrabucoVenezolano(2) made its public debut.It immediately became the most finished and interesting musical project known to the city of Caracas up to that time. Alberto Naranjo organized it under the concept of a big band with the idea of ​​developing a particular proposal that would differ from its similar ones in the rest of the Caribbean, with a sound that bridges salsa, jazz, funk and Venezuelan.

With seven albums released, two of them live with the group Irakere from Cuba, and having passed more than a hundred performers through its ranks, El Trabuco, more than a group in conventional terms, has been a download and meeting space for local musicians, as well as the best of schools for many of them.

Alberto Naranjo
Alberto Naranjo

He also counts among his achievements, having motivated the Caracas salsa environment of the moment, imposing a high standard that influenced the formation of the best salsa orchestras, apart from creating, in short, his own Caracas sound brand(3).

The activities of this large tribute began on Monday 21 with the talks in the Protocol Plate of the TTC: “History in Venezuelan salsa” with Franklin Rojas and “Hera & Pablo, the Venezuelan salsa dance”; on Tuesday 22, Cheo Guevara’s discussion on “Alberto Naranjo, and his historical mark” and the forum “The production of salsa content in alternative radio” moderated by Zulay Millán. They continued like this throughout the week.

Several workshops were held, among them, “Percussion Tuning” dictated by Nicolás Monterola and “Latin Percussion” by Professor Frank Márquez. Also in the lobby on the ground floor of the TTC, the following concerts were presented: Caracas Legends Ensemble, with its tribute to Eddie Palmieri, the Salsarría Orchestra, Grupo Madera, Mundito and his Orchestra La Celestial, The Big Band of San Agustín and the Orquesta Carlin.

Grupo Madera
Grupo Madera

The highlight of this week of well-deserved recognition was the Trabuco Venezolano concerts at the Ríos Reyna venue on August 24 and 25, presented by Zulay Millán and José Gregorio Acero.

Although with a room not completely full and recalling other times of splendor of a TTC that received the stars of the show from all over the world, we enjoyed two nights of memorable, tasty, lively and educational concerts, with a stage full of great musicians. and a full Alberto Naranjo, going through it and playing around more than directing the members of the big band. With the best of the best-known musicians and singers of Venezuela in the genre, with some of the original members of this group and new talents, we were able to delight ourselves in an exquisite waste of salsa, jazz and funk, lasting three hours each day.

“The teacher was narrating the stories of the different themes that they interpreted…”

Alberto Naranjo at the Teresa Careño with his orchestra "Trabuco Venezolano"
Alberto Naranjo at the Teresa Careño with his orchestra “Trabuco Venezolano”

The member musicians of El Trabuco Venezolano 2017, present at the concerts on August 24 and 25, were: Alberto Lazo (piano), José “Mortadelo” Soto (bass), William Vásquez (three), William Mora (tumbadoras), Frank Márquez (timbale), Franklin Rojas (bongo), Hugo Olivero (sax), Eduardo “Mondy” Dávila (sax), Manuel Barrios (sax), Irvin Blanco (sax), Edwin Ruiz (sax), Adrián Suárez (trombone), Eliel Rivero (trombone), Pedro Carrero (trombone), Franklin Moreno (trombone), Oscar Mendoza (trombone), Vicente Freijeiro (trumpet), Rafael Rey (trumpet), Gustavo Aranguren (trumpet), José “Cheo” Rodríguez (trumpet) , Noel Mijares (trumpet), Edgar “Dolor” Quijada (voice), Troy Purroy (voice), José Luis Peña (voice), Yeci Ramos (voice), Arturo Guaramato (voice).

The teacher was narrating the stories of the different songs they performed, referring to the fact that his musicians were chosen by meritocracy, sharing with the audience and ordering someone to shut up on more than one occasion, in a humorous tone, yes. He reminded us that they are not only dedicated to salsa and in some pieces where they did not sing, he emphasized that they were instrumental and that they could help us soar our imagination and dream.

Yeci Ramos, Juan Jose Conde, Edgar "Dolor" Quijada, Jose Luis Peña, Troy Purroy
Yeci Ramos, Juan Jose Conde, Edgar “Dolor” Quijada, Jose Luis Peña, Troy Purroy

The great experience of this meeting of musicians that has been El Trabuco Venezolano was reflected in a repertoire of 13 songs, including originals, emblematic and premieres, which they gave us.

They began with the songs “Yo Soy La Rumba” (Marcelino Guerra) with the solo voice of Troy Purroy and a timpani solo by Frank Márquez, “Bravo Rumbero” (José “Cheo” Navarro) sung by Edgar “Dolor” Quijada, “ La Negra Tomasa” (Guillermo Rodríguez Fiffe) in the voice of Arturo Guaramato, “Tres Días”, an original theme by Chucho Valdés and ceded to El Trabuco, sung by José Luís Peña, with the participation of the dancers Hera and Pablo. At this point, the entire audience had warmed up, and there was even a couple from the public who danced in the hall from the beginning of the concert until the end, both days.

The night continued with the emblematic “Almendra” (Alberto Barroso). This theme arranged by Naranjo for Arturo Sandoval 46 years ago, featured the masterful participation of Noel Mijares -Venezuela Big Band Jazz, Desorden Público- on trumpet, interacting with great complicity with the maestro. It followed with a premiere, “Alna’s Mambo” an instrumental composition, subliminal as Naranjo described it.

Yeci Ramos, Juan Jose Conde, Edgar "Dolor" Quijada, Jose Luis Peña, Troy Purroy - Photo
Yeci Ramos, Juan Jose Conde, Edgar “Dolor” Quijada, Jose Luis Peña, Troy Purroy – Photo

The concert continued with “Gongo Blues” (Eduardo Cabrera), a theme in which the extraordinary solos of Eliel Rivero on the trombone, Gustavo Aranguren on the trumpet, Manuel Barrios on the saxophone and Alberto Naranjo pleased us playing the kettledrum. . He followed up with the instrumental “El Ojo del Huracán,” a Latin jazz combo, which was written in the early ’70s and still sounds weird, Maestro Naranjo said.

Then with the song “Oye como va” (Tito Puente) the rumba was lit up, the lights in the room were turned on and hardly anyone could keep up without stopping and dancing. In the song “El Hijo del Sonero” (Ricardo Quintero) Yeci Ramos sang, in “El Cumaco de San Juan” (Francisco Delfin Pacheco), Arturo Guaramato and in “Compañeros” (Ricardo Quintero), Juan José Conde, these three songs they were accompanied by the drums of Grupo Madera.

“Imágenes Latinas” (Bernardo Palombo – Andy González), was the theme chosen as the finale, a piece that has become a cult object among music lovers, the salsa audience and lovers of Latin jazz, according to the words of connoisseur José Orellán .

It featured the extraordinary participation of Adrián Suárez in the trombone and bodyguard solo, and the interpretation of the son player Edgar “Dolor” Quijada.

Alberto Naranjo in his tribute
Alberto Naranjo in his tribute

At the concert on Friday 25, El Trabuco Venezolano and its creator were declared CULTURAL HERITAGE OF THE NATION by the Institute of Cultural Heritage (IPC) and the Ministry of People’s Power of Culture of Venezuela.

With the hope that this experience can be repeated in other theaters in the country and the world, we congratulate the organizers, Alberto Naranjo and the musicians of El Trabuco Venezolano for having received such well-deserved recognition as Cultural Heritage of the Nation.

Notes: (1) and (2) The salsa book. Chronicle of urban Caribbean music. Cesar Miguel Rondon. Ediciones B Venezuela SA., 2007. (3) Taken from the Caracas Exhibition. Ciudad del Son, montage and texts by Alejandro Calzadilla, at the La Estancia Cultural Center, belonging to the company Petróleos de Venezuela (PDVSA La Estancia), September 2017.

Lawyer in the USA talk about Visas and entering the country

Interview: Bill Martinez and Eduardo Guilarte

 

The term “vet”  was originally used in horse-racing, referring to the requirement that a horse be checked for health and soundness by a veterinarian before being allowed to race. Thus, it has taken the general meaning “to check”. It is a figurative contraction of “veterinarian,” which originated in the mid-17th century.

The colloquial abbreviation dates to the 1860s; the verb form of the word, meaning “to treat an animal,” came a few decades later—according to the Oxford English Dictionary, the earliest known usage is 1891—and was applied primarily in a horse-racing context (“He vetted the stallion before the race,” “You should vet that horse before he races,” etc.). By the early 1900s, “vet” had begun to be used as a synonym for “evaluate,” especially when searching for flaws.

“Vetting” in reference to immigration in the United States of America involves investigations by the State Department’s security units, which include various branches of security. This process is used to assess individuals applying for visas or those who already have visas or residency status. The purpose of vetting is to ensure that individuals entering or remaining in the country are not a security risk and that they maintain their lawful status.

Eduardo Guilarte

Okay, so I’m talking with immigration attorney Bill Martinez about the current immigration situation here in the United States and the impact that the executive order is having. Bill, tell us what’s going on?

Bill Martinez

Well, since the elections, there’s been a chilling effect on the artists, presenters, promoters, everyone involved in bringing international artists over to the United States, particularly from certain country-designated countries. The executive order that Trump announced divided countries into different categories: red, yellow, and green. If you’re coming from a “red” country like Cuba or Venezuela, the vetting process is tougher.

The vetting process, which involves investigations by the State Department’s security units (which are multi, the various “ramas,” various branches of security), can delay the processing of visas for a long, long time, in some cases years. I had somebody vetted for a couple of years; he was always supposed to be here for two months. This was just last year. A famous Cuban artist was going to be honored as the best of his instrument, just to get an award.

Eduardo Guilarte

Who was that?

Bill Martinez

I can’t tell you. I don’t want to…I feel like I can’t give you that information. But it was someone very well known. Okay, and he ended up missing that opportunity. We’re going to try to bring him in again, but for right now, it’s very unsure and uncertain whether an artist will get a Visa or not.

It’s not just Cubans, but it’s across the board. The process under the executive order continues throughout, even if you have residency, even if you seem to have a Visa and you’re okay. At any point, if there’s some red flag of uncertainty, you are subject to having a Visa revoked and being returned to your home country, or in the majority of the cases for Cubans, you suffer really long delays for administrative processing, which means security clearances.

We just lost out on getting 15 young artists from the jazz school “Diana,” who were going to be in Berkeley on April 10th (or I think it was October). They were invited to go to Berkeley for about 10 days, and their visas were denied under the executive order because they come from a country whose ideology is contrary to the United States.

These are kids, and they’ve been practicing since July to come and do this wonderful exchange with their colleagues at Berkeley High School. The Berkeley High School people, the kids and supporters, were really excited for this to happen, and there was sadness for them after they got interviewed in December. They were told, “Why are you getting the administration involved? We need to vet, we need to investigate more and more.”

Finally, about three weeks ago, we found out, “Well, we made a decision because they come from a country whose etiology is going for the United States.” These are young kids, and their hearts were broken equally.

The Berkeley students wanted to reciprocate; Berkeley students to go to Cuba every year for the past eight years. They wanted to reciprocate, but they couldn’t. Similarly, a project we had with a famous Broadway producer…

Our licensed activity was essentially to send (this happened) the day after we got the denials of these kids, three days (or two days) later, I could not get visas for two of the three original members of the Buena Vista Social Club and Ibrahim Ferrer Jr., the son of Ibrahim Ferrer from the original Buena Vista Social Club. I could not get their visas to attend.

Did one of these Social Club members play on Broadway? We were only asking for one day, so the 30 kids from “Diana,” that’s nice, and the Broadway play…

Eduardo Guilarte

So, let me ask you about artists like Isaac Delgado. What’s his status right now?

Bill Martinez

I’m not sure because I know he does a yearly tour over here, I believe, and I could be wrong, but he now has dual citizenship. I’m not talking about citizenship and people who have become residents or permanent residents with permanent residence. The vetting process isn’t just to get the visa originally; it continues throughout. I mean, it is subject to review at all times. It’s an exhaustive review of the entire vetting process, and that continues even if you have residency. So, they will continue to investigate to assure that you maintain your lawful status, even when you think everything is okay.

Eduardo Guilarte

So, let me ask you this question: Let’s say that I am a permanent resident, and have been here for 20 years. Are you saying that if I am against Trump, they could potentially cancel my residency?

Bill Martinez

You can see what happened to the medical doctor, at Rutgers University. She’s a Lebanese doctor who went home to visit her family for a couple of weeks, and they wouldn’t let her back in. She had an H-1B visa. (referring to MD Rasha Alawieh, which while some initial reports mentioned Rutgers, also affiliated with Brown Medicine and had a clinical appointment at Brown University).

There was a…I forget which country this gentleman was from; I think he was a journalist, and he tweeted something against Donald Trump, and he had residency and was not allowed back yet. So, it’s a risky proposition to leave the country, even if it’s lawful and everything’s cool. You think it’s not a time to be taking risks.

Eduardo Guilarte

Thank you, Bill.

Bill Martinez

It’s a dark place right now.Bill Martinez 2025

  • « Go to Previous Page
  • Page 1
  • Interim pages omitted …
  • Page 15
  • Page 16
  • Page 17
  • Page 18
  • Page 19
  • Interim pages omitted …
  • Page 95
  • Go to Next Page »

International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.