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The multifaceted Aymée Nuviola delivers her ‘Corazón Sonero’ to Puerto Rico, at the historic Tapia Theater in Old San Juan

Pete Perignon’s orchestra kicked off Aymée Nuviola’s concert, entitled Corazón Sonero, with a powerful Latin jazz introduction. During the first minute, the instrumental melody settled into a salsa key, giving way to the voices of Lorna Marcano and Ricely Colón, who chanted: “Yo te invito a bailar y a gozar con Aymée, la sonera del mundo” (I invite you to dance and enjoy with Aymée, the sonera of the world). The chorus duo of Marcano and Colón prepared the theater for the triumphant entrance of the voice of La Sonera del Mundo.

La multifacética Aymée Nuviola Imágenes Conrado Pastrano

As the curtain rose at the historic Alejandro Tapia y Rivera Theater in Old San Juan, the stage design by José “Quenepo” Ramos Vega, which revealed two transparent fabric borders held in the middle by an imposing white star, caught the attention of the audience. The red of the triangle of the Cuban flag was represented by the pendant unfurled to the left of the star, while the cloth representing the Puerto Rican flag was held on the right hand side of the same star. The inspiration of the design demonstrates that the Cuban and Puerto Rican flags are fraternal twins.

The opening lyric that resounded in the theater, which was filled to capacity, with the vocal power of Aymée Nuviola read: “A little bit of good salsa, a little bit of pure salsa, so that new people, get to know our culture”. From then on, the music obeyed Nuviola’s command, singing: “Let the clave get into your body, let the conga and the bongo move the floor”. Sure enough, three hours later we were still letting the stage delivery of the musical team continue to move the floor. Pete masterfully directed: Jean Carlos Camuñas on tumbadoras, Carlos Pagán on bongó, campana, güiro and maracas, Miguel Camilo on piano, Jorge Rivera on bass, Pedro Marcano and Víctor Ambert on trumpets, César Ayala and Léster Pérez on trombones and Saviel Cartagena on tenor and soprano saxophones.

Ten minutes into the music under the direction of the leader of the generation of the present, as timbalero Pete Perignon is known on Puerto Rican soil, Aymée greeted the audience with a heartfelt, “¡Buenas noches, Puerto Rico!” She thanked the attendees in a candid manner for joining her, while making jokes about how heavy her dress was as she elegantly adjusted the flounce and wings of her sleeves. She also commented on the design of the theater, inaugurated in 1832.

Gilberto SantaRosa y Aymée Nuviola Imágenes Conrado Pastrano

That first conversation with the audience served to connect with a: “we are survivors”, in clear reference to the COVID-19 pandemic, shortly before quoting Celia Cruz saying: “As Celia said so well: ‘Thank you Puerto Rico, for lending me your flag’. She also recognized actor Willy Denton, who played Pedro Knight when Aymée impersonated Celia Cruz in the soap opera Celia and who was among those present.

Nuviola boasted of having reached the fifth floor, as she recounted that she was going to record her version of ‘El ratón’ with Cheo Feliciano, whose unexpected death thwarted the long-awaited collaboration. However, Aymée decided to record it anyway, in order to pay tribute to Señor Sentimiento. The evening’s repertoire included: ‘Un poco de salsa’, ‘Salsa con timba’, ‘Yo sé que es mentira’, ‘El ratón’, ‘La tierra del olvido’ and ‘La gota fría’.

Many remember Aymée for her character of Celia Cruz in an acting performance that marked “a before and after” in the singer’s career. This was acknowledged by the actress, shortly before paying tribute to Celia, with her versions of ‘Cúcala’ and ‘Quimbara’, in addition to performing a medley of some of the songs with which Celia was crowned the Queen of Salsa. The medley included ‘Toro mata’ and ‘Bemba colorá’, among others.

The concert included a bohemian part during which Aymée accompanied herself on the classical piano to share with us her passion for the filin. The selected repertoire was: ‘Obsesión’, ‘Bésame mucho’, ‘Me faltabas tú’, ‘Perfidia’ and ‘Lágrimas negras’.

Before performing ‘El espacio’, of her own composition, and accompanied by Miguel Camilo on piano, Aymée said that the song was inspired by “someone else’s skeleton”, as the composer described it. Aymée emphasized that ‘El espacio’ is not dedicated to her husband. Between jokes and laughter, the sonera shared with those present her love story with Paulo Simeón, while acknowledging the presence of Fabio Díaz Vilela, who was the owner of the place where the couple met more than 14 years ago. Aymée expressed her gratitude to Fabio, for also having been a great support for the career of the producer, “from day one”.

The climax of the concert came as the sonera took off ‘El cuarto de Tula’, Gilberto Santa Rosa -who was among the attendees- went up on stage to duet with Aymée, between each soneo to describe the scope of the talent of the Cuban who gave her sonero heart to Puerto Rico. El Caballero de la Salsa was also able to tell La Sonera del Mundo the fascination that the Puerto Rican public has for her. For their part, Aymée’s soneos expressed to Gilberto the admiration she has for him for being “a great maestro”.

The repertoire of this last section included the songs ‘Fiesta’ and ‘El manisero’, which incorporated correspondences between the singer and the pianist. The coda of ‘El manisero’ coincided with the closing of the curtain, while the audience shouted “another, another, another”. The ñapa corresponded to ‘Chan chan’, a song included in the album that won Nuviola a Grammy for his production A Journey through Cuban Music. The interpretation was sprinkled with the strength brought by the trumpets of Pedro Marcano and Víctor Ambert, along with the trombones of César Javier Ayala and Léster Pérez. Chan Chan’ announced the farewell with which Aymée Nuviola’s energetic “God bless Puerto Rico” resounded as the curtain came down on her first solo concert on Puerto Rican soil. For my part, I reciprocate: “God bless Aymée Nuviola and her team (including Paulo Simeón and Luis Solís)”.

Here in the Island of Enchantment we are pleased to know that Corazón Sonero has consolidated this high-end artist, whom we already consider our own.

Images: Conrado Pastrano

Also Read: Mel Martinez I come from Puerto Rico and Puerto Rico is Salsero

Burju Pérez

North America / USA / Boston

Burju Pérez. From Dance to the Fashion Industry

Turkey is considered one of the countries with the most successful traders in the world and with a big musical influence of the Islamic and Western culture, well, from this country come the wonderful professional salsa dancer Burju Pérez, an entrepreneur who fused the tempo with the comfort and fashion of footwear.

Burju Pérez Shoes - Photo — Burju Pérez Shoes – Photo

Born in Turkey but arrived from 2 years old to Boston, Massachusetts. From very young, Burju began in the world of rhythmic gymnastics and dance. “My parents say I danced before I walked, or at least I started them both at the same time. I always had a wiggle and a bop”, said Burju for an American media.

Over the years, she learned other rhythms such as: Hip hop, Jazz and classical. Once at the university, she really dabbled in Latin dance, there a dance group was formed and she met her current husband Víctor, whose roots from Puerto Rico and who by that time was already an expert in Salsa dancing.

Once associated both personally and professionally, Burju and Víctor embarked on their way to conquer the most important congresses and festivals in the country as qualified Salsa dancers, starting with the nation’s largest annual convention, LA SALSA FEST, which for that time was only made in two cities of the world: one in San Juan (Puerto Rico – original headquarters) and the other in Los Angeles, (US).

Russia, China, Japan, Turkey, Lithuania, Germany and all Western Europe were also witnesses to the rage of the audience that generated this duo on the dance floor, who stepped on the best stages, generating great respect in the salsa community for being a couple of high competitive range.

Burju Pérez on the show - Photo 2 — Burju Pérez on the show – Photo 2

Burju during the decade of the 90s began to add her identity to the attire, painting his shoes and creating her own style. By 2003, this regular salsa girl from the stages of Boston and New York had the opportunity to belong to Juan Matos’ Fogarate Dance Project, which was held every weekend in New York. For the same period, Matos came up with another project, this time in Italy and Turkey and for which he had no partner dance so Burju was the ideal candidate to make this tour with him for a month, working full time.

Burju Shoes

Once in Milan, this choreographer and professional dancer began to create her own project, an idea that would satisfy the needs of the dancers, simply a hybrid between dance and fashion, was the creation of Burju Shoes. In Milan, where I was based for the project, there is this very high fashion and lots of people not wearing dance shoes when they dance.

I was like, “Oh, I’m not trying to be left out.” So when I was social dancing I was rocking these hot fashion shoes I bought there, but every night I was nearly crying because I was in so much pain. That’s when I was like, OH MAN! I want to combine fashion with comfort for dance shoes. She explained in an interview.

Burju Shoes (created in December 2010) are the perfect combination between the avant-garden design, contrast of colors, versatility and comfort, made to highlight the distinctive beauty in each dress and coziness when dancing.

Burju decided to create this company in his home, Boston, a very welcoming place where the scenes and the Latino community has grown exponentially.

When I first started my business, I asked a lot of ladies that were well known (in the dance and salsa world) to help me with a collective push with the brand. These girls not only endorsed it, but became part of the brand and helped with the designs. I even named shoes after them!, said she. I had my own following, but it was so wonderful to have all these girls supporting me and spreading the word.

When I felt weak, I had people to lean on who were not just friends but collaborators in the scene… I’m so grateful for the love and support here. She added. The Burju Shoes business was the change in the footwear industry’s perception for the ladies. The belief for years that the beauty of the shoe was synonymous with pain and tiredness of the feet was in the past.

Burju Pérez on the show - Photo 4 — Burju Pérez on the show – Photo 4

Burju Shoes offer you elegant shoes that you can use to do your dailies and go to work, they are also perfect for a dinner, cocktail and especially for a night of total fun and a lot of Latin dance.

Burju also cared about brides, and created a wide selection for them for that special day.

Burju thanks to his experience as a professional dancer with 14 years of career, travel and in addition to her creative intuition, she has created great innovative designs in each shoe, which are flexible for the comfort of the user and functional for each occasion.

Burju Pérez on the show - Photo 3 — Burju Pérez on the show – Photo 3

The construction of each pair of shoes is derived from custom made patterns, high-end manufacturing and high quality materials: satins, leathers, sparkle, faux animal prints and other synthetic or man-made materials.

For the outer soles, the options of suede (more traditional for dance shoes) to the street sole which is great for indoor and outdoor use. I think people appreciate that we put a higher standard on presentation… At the end of the day, selling is not my main mission. But I will educate you and help you find what’s right for you, and help you feel good about yourself. I think this draws people in, said

Even though I don’t dance as much as I used to (since I got pregnant four years ago), and went the fashion and entrepreneur route, I’m still connected to this dance scene through my work and like giving back to the community… I want to show people that arts and business can function together. Burju Perez

Burju Pérez on the show - Photo — Burju Pérez on the show – Photo

“Orquesta Zodiac” Its name came about due to the fact that in the early 70’s the ‘Walter Mercado’ program and the Zodiacal Signs were all the rage

In June 1971 what we know today as the Zodiac Orchestra was organized in the town of Loíza. Its name came about due to the fact that in the early 1970’s the Walter Mercado and the Zodiacal Signs program, which was broadcast on Channel 2 in Puerto Rico, was in vogue.

Tony Escobar’s uncle (the orchestra’s declamationist) suggested the name because it was an eye-catching and “new” name.

The Zodiac Orchestra was organized with members of a group called Loíza Power directed at that time by Paquito Pérez, who was 14 years old. In addition, it was nurtured with the best musicians of Loíza Sound of Javier Calcaño.

“Orquesta Zodíac” Su nombre surgió debido a que para principios de la década del '70 estaba de moda el programa de “Walter Mercado” y los Signos Zodiacales — “Orquesta Zodíac” Su nombre surgió debido a que para principios de la década del ’70 estaba de moda el programa de “Walter Mercado” y los Signos Zodiacales

The idea of recruiting these musicians was Paquito’s, since he grew up with José Luis Vizcarrondo and Tony Escobar.

Through Loiceño composers Carlos José Cirino (Tata) and Floren Ayala, the recording was achieved, as they approached Dario Gonzalez of Borinquen Record who contributed to make possible the release of the first 45 and LP. Tata’s “El Adiós” and José Feliciano’s “Las Costumbres” (1971) were part of this musical proposal that was very well received by the public.

This album became one of the best selling LPs. Other musical proposals of the group that would become hits were: “Panteón de Amor” by Angel Laureano (1973), “Sinceridad” by Samuel Cirino, “Mi Guitarra” by Angel Laureano, among others. These great hits are frequently requested today on the Salsa Z-93 radio station.

After the initial success, many of the musicians dedicated themselves to work and to finish their studies, since they were married and were looking for security and economic stability for their respective families.

The Zodiac had the opportunity to travel to different cities in the United States such as: Boston, Connecticut, Philadelphia, New York, among others. They also traveled to other countries such as Colombia and others.

During these years, several orchestras were at their peak, such as: La Fania, La Selecta, Lebron Brother, La Corporación Latina, El Gran Combo, La Lupe, Chivirico Davila, Bobby Valentín, Tomy Olivencia, Ismael Miranda, Ricardo Rey, Roberto Rohena, Roberto Anglero, Justo Betancourt, among others.

In 1997 Paquito decided to retake and regroup the orchestra, and for some years he dedicated himself to reunite with the musicians and organize them again.

In 1999 he managed to restart La Orquesta Zodiac at the Z-95 festival in Mayagüez. Later they performed at the National Salsa Day dedicated to Cheo Feliciano in 1998.

These two presentations were made at the invitation of Pedro Arroyo (director of Z-93) to Paquito, and were a great success. El Gran Combo, Rubén Blades, Jimmy Zabater, La Solución, among others, also played in the tribute to Cheo.

The members of the current orchestra are young, and most of them were music students of Paquito Pérez, who worked as a music teacher for 30 years in the town of Loíza (before retiring).

José Luis Vizcarrondo, Tony Escobar and Paquito Pérez were schoolmates for years. The director of the orchestra in the beginning was José Luis, also collaborating with him were Tony Escobar (saxophonist and declamation player), Freddy Ayala (conguero) and Paquito Pérez (singer). All of them contributed ideas for the arrangements. Currently Víctor Pérez (Paquito’s brother) is the director of the wind section.

In 2010 the orchestra played in the National Salsa Day and in 2012 the orchestra played again in the same activity, but this time the activity was dedicated to La Orquesta Zodiac and La Corporación Latina. In which Z-93 gave them a well-deserved recognition and Paquito, José L, Tony, Tata, Laureano, and the rest of the new members of the orchestra were present.

Currently the orchestra meets periodically to practice, and are available for all kinds of activities.

Did you know that…! In June 1971 what we know today as the “Zodiac Orchestra” was organized in the town of Loíza in Puerto Rico. Its name came about due to the fact that in the early 70’s the program “Walter Mercado” and the Zodiacal Signs, which was broadcasted on channel 2 in Puerto Rico, was in fashion. Tony Escobar’s uncle (declamationist of the orchestra) suggested the name because it was a striking and “new” name …Referring to the image of the post belongs to the second production of this Puerto Rican group entitled “Spiritual Beauty Vol. II” published in 1973 under the label “Horóscopo Récord” and directed by the founder, arranger, pianist and saxophonist Mr. José Luis Vizcarrondo. It is worth mentioning that this production includes the classics: Montuno de Oriente, Vicio de Amor and Belleza Espiritual”. Another important fact about the group is that it is still in force with musicians of the new generation, but with the same Swing and musical concept.

Segunda producción de dicha agrupación boricua titulada “Belleza Espiritual Vol. II” publicada para el año 1973

It is worth mentioning that the main responsible for making Orquesta Zodiac publicly known in Venezuela, Latin America and the Caribbean was Mr. Ali Delgado. Mr. Ali Delgado, for the year 1985 under the record label Performance Records, Delgado comments in detail that for the date of publication of this production the only popular sector (neighborhood) of Caracas where the Zodiac Orchestra was known was in Pinto Salinas.

Orquesta Zodiac De José Luis Vizcarrondo

Delgado is a music producer, music lover, collector, director and founder of the projects Salsa de La Mata and Jazz con Clave in Caracas.

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

From Cuba El Septeto Son de Nipe come Abriendo Caminos (Opening Paths)

Son de Nipe. A musical septet born in the municipality of Antilla, it burst into the cultural world with an album of the In Situ label of the Colibri Record Production Company.

Antilla is the smallest municipality of the province of Holguin in Cuba and one of the smallest of Cuba, it was founded on January 21, 1925, it is famous from distant times for its beauty, legends and original aspect.

De Cuba El Septeto Son de Nipe vienen Abriendo Caminos

The group is formed by former musicians of the orchestra Brisas de Nipe of this municipality.

This project was born from the hands of Porfirio Núñez Cruz (Firo) who as Art Instructor at the Casa de Cultura Adelaida del Mármol of Antilla had experimented with other amateur groups, but not with the same results, because the members did not have the necessary musical training.

The album Abriendo Caminos includes 14 songs, 10 of which belong to Antillean authors.

“The value of Abriendo Caminos also lies in the fact that it helps Antillean composers and arrangers to open up to the recognition of their work and ways of doing things”.

From the singer and percussionist of the septet Son de Nipe, Alejandro Arencibia appears the guaracha Esa muchacha quiere bailar and the son, Honor al Guayabero; from Edalio Espinosa Alayo (Pupi), former member of the Brisas de Nipe orchestra, the son, Es caliente como el sol (It’s hot like the sun).

The songs A mi Antilla (bolero-son) and, Y no me niegues el beso (son) by José James Pinder, singer of the septet. By Oscar Fernández, former singer of the Brisas de Nipe Orchestra, the disc offers the themes Rebozo de amor (guaracha) and the son Que lástima.

From the director of the septet Son de Nipe Porfirio Núñez Cruz, Mi son tradicional.

And the guaracha Olvídate de esa nena by the Antillean composer Nemesio Palacio.

The remaining four musical numbers are; De que callada manera by Nicolás Guillén and Pablo Milanes, Culpable by Pepe Delgado, Rabo de nube by Silvio Rodríguez and Una alborada de amor by Ariel Dotres Zaldivar, these songs were arranged by Porfirio Núñez Cruz.

In the septet’s album Son de Nipe Abriendo Caminos “the guaracha, the bolero, the bolero-son and the genuine son are retaken with originality and revalued”.

The latter is due to the fact that the musical criteria followed by its director was the respect for traditional music, its deep knowledge, but imbuing it with very contemporary nuances, which results in a seal that distinguishes the septet Son de Nipe.

“We use the son, but more updated because we make innovations, harmonizing it in a more modern way, without losing its roots”.

The selection of the songs that made up the album Abriendo Caminos was in charge of the septet’s management, since the Casa Discográfica Colibrí wanted originality and the authentic exhibition of the work that has been developed with traditional music in the eastern part of the country.

The graphic image of the disc, worked in sepia and black colors fundamentally manage to set the atmosphere that is offered to us with a vintage flavor and invites us to listen to these 14 songs full of tradition and contemporaneity.

“It will be a delight for the listener and the dancer, the good function of the tres in its solos and “entregas”, the beautiful and ingenious introductions, the exquisite mixture between text and music of the boleros, the harmonic patterns of the soneros that not for conventional reasons give up a significant finish, without neglecting, on occasions, the voices replacing wind instruments”.

The selection of the members was meticulous. Porfirio had in his favor the prestige he possessed and the convening power among his former colleagues of the Orquesta Brisas de Nipe, so much so that in the list of his group he planned to include Reyes Cástulo Urgellés Fáez, better known as Lulú as bassist and José James Pinder (Joseíto) as singer, both retired from the Orquesta Brisas de Nipe and linked to the Casa de Cultura in occasional activities.

The septet still needed to be completed with a key piece, the tres, for which the prestigious Mario Arencibia Rodríguez, one of the best tres players in Antilla, was summoned.

In the Arencibia family, musicians abound, that is why the group was completed with them: Alejandro, singer and Rafael on the tumbadora.

Alejandro and Mario had been part of an amateur group called Renovación Antillana for more than 20 years, which was very famous in its time and where a great number of aficionados were formed.

Alejandro sometimes played the tres in other groups, but in Son de Nipe he remained as a singer, he also had a work relationship that did not allow him to devote himself entirely to music; His nephew, trained at the Casa de Cultura and under the musical influence of the family, had taken over the tumbadoras, so Rafael Arencibia was the youngest of the group, he was barely 25 years old and at this young age he had already played in several amateur groups and got the Brisa de Nipe orchestra out of trouble, due to the unexpected absence of its percussionist.

Rafael Arencibia Rodríguez joined the project with enthusiasm despite the fact that the genre and style of the repertoire were not those used by the amateur groups of his contemporaries.

Iro had obtained the desired musicians, but he still had a big step to climb, his musicians were not professionals, they all had work commitments and he needed to prepare the project for the right day…(ecured).

Septeto Son De Nipe – Abriendo Caminos (2006)

Temas:

Esa Muchacha Quiere Bailar (Alejandro Arencibia)
Es Caliente Como El Sol (Edalio Espinosa Adayo)
A Mi Antilla (José James Pinder)
Rebozo De Amor (Oscar Fernández Paz)
De Qué Callada Manera (N. Gillén / Pablo Milanés)
Honor Al Guayabero (Alejandro Arencibia)
Culpable (Pepe Delgado)
Mi Son Tradicional (Porfirio Núñez Cruz)
Y No Me Niegues el Beso (José James Pinder)
Clodomiro (Oscar Fernández Paz)
Rabo De Nube (Silvio Rodríguez)
Qué Lástima (Oscar Fernández Paz)
Una Alborada De Amor (Ariel Dotres Zaldívar)
Olvídate De Esa Nena (Nemecio Palacio)

Septeto Son De Nipe - Abriendo Caminos (2006) — Septeto Son De Nipe – Abriendo Caminos (2006)

Research Sources:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Virgilio Martí was an excellent rumbero and composer of the classic “Cuba Linda” where he was vocalist and percussionist in Grupo Folklorico Experimental Newyorkino

Cheo Linares is a Singer, Composer, Sonero, Poet and Caraqueño

National Culture Award 2023-24 and the Artistic Glories of Venezuela Award.

José Gregorio Linares Carrasco is one of the great singers, composers and defenders of Venezuelan Salsa,

Cheo Linares born in the city of Caracas-Venezuela, he has been part of groups such as La Salsa Mayor, Salsa Mágica, el Trabuco Venezolano and Saxomanía.

José Gregorio Linares Carrasco es uno de los grandes cantantes compositor y defensor de la Salsa Venezolana

He is one of the most important composers of Venezuela.Linares has just been distinguished with the National Culture Award 2023-24 in the music category, so it is his first musical release since this important recognition, which surely is an encouragement to continue his work.

Last Saturday, January 11, 2024, Venezuela’s Minister of Culture, Ernesto Villegas, announced the winners of the National Culture Award 2023-24 and the Artistic Glories of Venezuela Award 2024.

The names of the artists, teachers and researchers favored by the jury as winners of the 2023-24 National Culture Award were announced by Venezuelan Minister of Culture Ernesto Villegas.

In the Music Mention, the flute master Antonio Toñito Naranjo stood out “for his career as a performer and trainer of generations of Venezuelan flutists and for his contribution to Venezuelan culture”, according to Villegas.

Antonio Naranjo is an extraordinary musician, composer and musical director, as well as a member of the group El Cuarteto, which he formed together with his brother Telésforo Naranjo and brothers Miguel and Raúl Delgado Estévez (+).

Also linked to music, but in the Popular Culture category, the National Culture Award was granted to Rafael Salazar “for his long and uninterrupted career as researcher, musicologist, composer and cultural promoter”.

It is worth mentioning that Rafael Salazar has been one of the most outstanding researchers, compilers and disseminators of Venezuelan popular culture, in addition to being the author of books dedicated to folklore.

Cheo Linares es un Cantante, Compositor, Caraqueño, Sonero y Poeta

Several extraordinary musicians received honorary mentions in the National Culture Award, such as cuatrista Daniel Enrique Gil Rosado, llanero singer Cristóbal Jiménez, master composer Henry Martínez, oriental singer Hernán Marín, and members of Los Guaraguao, Eduardo Martínez, José Gerardo Cordero and José Manuel Chachata Guerra.

Artistic Glories of Venezuela

The Artistic Glories of Venezuela award deserved a special mention, which was given to great singers such as Cecilia Todd, Lilia Vera and Biella da Costa. The first two are part of the living history of Venezuelan folklore and their voices are part of the national heritage. Biella da Costa is one of the leading figures of jazz in Venezuela.

The award was also presented to Jesús Sevillano, a singer who was part of the historic Quinteto Contrapunto. It was also received by the stupendous composer and salsa singer Cheo Linares and the popular singer José Montecano, brother of Alí Primera.

Orlando Watussi, Jose G. Acero, Cheo Linares y Dj, Augusto Felibertt

Mario Díaz, an enormous exponent of the central joropo, was also recognized as an Artistic Glory of Venezuela, as was the great composer and oriental singer Perucho Aguirre.

The same award went to the Simón Bolívar System of Children’s and Youth Choirs and Orchestras, and groups such as the parranda La Flor de Cojedes, the Teatro Negro de Barlovento or Los Cañoneros, excellent representatives of merengue rucaneao, were not left behind.

In the world of rock ‘n’ roll, the group Los Tres Tristes Tigres, the mythical Ivo, and more recently, the singer Colina, famous for his pop hits in the 80’s, shone.

Tags: Antonio Toñito Naranjo, Biella da Costa, Cecilia Todd, Chachata cultura, Eduardo Martínez, Ernesto Villegas, Glorias Artísticas de Venezuela Hernán Marín Jesús Sevillano, José Gerardo Cordero, José Montecano, lilia Vera, Los Guaraguao, Mario Díaz, Perucho Aguirre. National Culture Award and Rafael Salazar.

Cheo Linares was not even 20 years old when something unexpected happened to him. Another young man, Gonzalo Martinez, came to his house looking for him to invite him to sing with La Salsa Mayor. It was perhaps 1983.

Cheo says that his aunt was the one who opened the door and then told him: “Hey, Cheo, they are looking for you. They are asking if you want to sing in La Salsa Mayor…”. Cheo, shirtless, came out. He couldn’t believe it.

“Venezoa is a term I created to name the Venezuelan salsa music lover, to whom I dedicate this production, which in turn I extend to the salsa brothers of the planet, this CD was made with all the love, mysticism and professionalism of the musicians, technicians and designers who participated in it, to them I present my most sincere and expressive thanks for the support provided. Grateful to all the people who have supported my career, especially journalists, announcers, DJs, collectors and promoters, for all, blessings, love and light …”.

Cheo Linares.

Source: Radio Café Atlántico

Also Read: Marcial Isturiz from Capaya with soneos and melodic phrases and his popular “Agua pa’ los Gallos “Puerto Rico