Search Results for: La Sonora Ponceña

Antonio Laya a traditional artist

Latinoamerica / Mexico / Cancun

Antonio Laya “He tells us a little about his new single Abre que voy”

Today we are pleased to learn a little about the life of Antonio Jose Laya Gonzalez (Antonio Laya), a Venezuelan who with his voice and his particular way of dancing has managed to climb and carve his way to success, this Taurean with a great career as a singer of good salsa and especially son, he presents us his new single, abre que voy, a success that has gradually positioned itself on the best musical platforms from his current hometown, the beautiful city of Mexico.

Good afternoon friend Antonio, thank you in advance for the time you give us to learn a little about your life and give our great readers a little about your son, but in letters, we know from your artistic review that you come from a cultural world. the dance? Why the singing?

I come from a family of musicians, teachers and athletes, in 1995/96 I started in the popular culture workshops of the “Fundación Bigott” (cultural house of great social impact in Venezuela) in the Afro-Venezuelan percussion workshops with Professor Jesús Raúl Paiva, where he gave me the opportunity to enter this world of culture…

Years later this would bear fruit, when I joined the Vasallos del Sol group, a representative entity of Venezuelan folklore, on one of their tours in Europe “Germany” to be exact, one of its dancers stayed, leaving an open vacancy, it was then that I received the invitation to audition, at a festival of San Juan of the foundation, where I was able to win a spot. From then on I became a vassal of the sun.

All this experience in the middle of the show made me lean towards dance, where I got to venture as direct from my own dance school destined to spread the Cuban casino. With Vasallos del Sol I had the opportunity to travel the world, Colombia, Cuba, Ecuador, Spain, Mexico, Korea, Japan, the United States,

How many years has it been since the idea of entering the cultural world of your country?

22 years since I formally started at the Bigott Foundation.

How did the idea of giving life to singing come about?

On the tour of the United States, I began to sing with the vassals accompanied by the guitar of Luis Gonzalez, assuring me later that it was there that he heard me and knew that I could sing, quickly and a few months later he called me and invited me to participate in a project that neither It didn’t even have a name, which would quickly begin to take shape and to date is known as the seventh bohemian.

I began to sing very badly, I lost my voice because I didn’t know how to use the phonator, I began to take classes with several teachers, the first of them Ronald Gonzalez, fundamental pillar to start singing, placing and improving my vocal technique, successively Fabby Olano, Gladys Salazar, Maigualida Ocaña, Dayan Montiel, Marcial, Gustavo Gerardo. We recorded 3 albums on national tours, the second of which is entitled “She takes me” a song that I believe made the Seventh Bohemia popular. Singing was not in the plans but it ended up being one of my great passions.

A song that marks you?

She sings: The earrings that the moon lacks, I have them saved to make you a necklace I found them this morning in the mist when I was walking next to the immense sea. Since I was a child I woke up very early listening to music by La Sonora Matancera, Felipe Pírela, Damiron and Danzón de Acerina, it fascinated me.

Let’s talk about the seventh bohemia. How do you join this septet?

I am a founder, just in the second rehearsal when only Luis Freites, Cesar “Chagu” Bolívar and Luis Gonzalez were there I was summoned along with Krlos Gonzalez to be part of the group, from then on I started singing “Bilongo” to be exact, hahaha I’m so in love with the black tomasa……….., El Jamaiquino, Me que, among others.

What is the greatest thing you have experienced so far with music? -You could perhaps refer to a concert or moment to share with an artist-

I think the greatest thing I have experienced in music is having shared the stage with great figures both Venezuelan and foreign, Francisco Pacheco, Canelita Medina, Trina Medina, among, Jose Alberto “el canario”, Cheo Feliciano, Alexander Abreu and his Habana de First, Manolito Simonet and his Trabuco, Tiburón Morales, El Septeto Santiaguero, among others. On the other hand, being at the 2014 and 2015 Pepsi Music Awards, the biggest thing, achieving 4 nominations for the 2015 Latin Grammys, a great privilege.

What has given you and what has taken away the artistic life you lead?

It has given me the satisfaction of feeling and receiving the applause of an audience, feeling the magic of a stage, dancing on the most important stages of Venezuela and the countries I visit, I don’t know if there is another artist who performed in the same weekend in two different facets and groups in the most important venue in Venezuela

The Teresa Carreño Theater where on Saturday I danced in my last Vasallos de Venezuela concert in the concert “Guiados por la Luz” occasion to baptize the latest production, with guests from the cultural movement and the next day singing with La Séptima Bohemia alternating with Francisco Pacheco, El Septeto Santiaguero, Jose Alberto “El Canario” Canelita Medina and El Tiburón Morales and as special guests all the best dance academies in Caracas.

Antonio let’s laugh a little. Tell us about the funniest thing that has happened to you at a concert and the most painful.

WUUAOOO, too many, Well, a concert with Los Vasallos where I went out to dance and my pants began to drop, at a concert at the Yerba Buena Garden Festival 2008 in San Francisco we got the foot burn of the century since the stage was al pure sun and linoleum floor and at the baptism of the album “She takes me” in the main hall of the Central University of Venezuela after the great presentation of the renowned Ramón Castro We went on stage and I couldn’t see anything through my glasses hahaha and I I put in the place of my partner Miguel Guanchez colliding spectacularly ahaha to start singing. What a laugh.

We know of the great success that you have had in Venezuela with the successes that you have sung and have marked the public, they have gone from a sound to a necessity for the dancer. What do you consider this great impact?

Definitely because I come from the world of dance, I’m a dancer and a dancer and I understood perfectly that I needed the same audience that the casineros came from, those of us who at some point went to the Goiticoa school or the Monagas house. By the way, as a curious fact, I was the one who organized one of the first casino parties in a place called Beisboland, a party where I dare say it was the second presentation of one of the most important dance groups in the Venezuelan casino Son Rumbero, where they danced “Cuentas Verdes y Amarillas de Adalberto Álvarez.

How has your foray into Latin music in Mexico been?

Since my arrival in Mexico I have participated in several musical projects, Los Panas.com, La Formula Perfecta, Swing Latino to mention a few, it has not been easy since musically Cancun has a particularity and that is that the music that is danced is still that of the 80s when they talk about salsa, of course with its exceptions, but it has cost me to adapt but in the end it is what is consumed here. Here the forte is the hotel industry, so the Latin genres that marked an era are what is worked on, that’s why as a salsero it has been difficult for me to adapt, although I have worked anyway.

The Salsa or the Son? Which one do you lean towards?

Definitely La Salsa, I grew up in the middle of the Salsa de La Sonora Ponceña, Willie Rosario and the great Ray Barretto to name a few. Son also became my passion but I have to be realistic! came into my life thanks to the Seventh.

Open, I’m coming. Tell us a little about this great topic?

When I got on the plane to leave my country, in addition to nostalgia, I only had one thought, to make my album as a soloist first, I knocked on many doors, I looked for a lot of help, until I finally reached what today is called “Abre que I’m going” in that search the day came when I remembered that I had a buddy who was Omo Aña (Drummer) Maurice Melo and that after conversations, long conversations we would take a first step, start aggravating a theme, my first promotional single.

What surprise do we have to see from Antonio Laya during this 2019?

With God’s favor, to continue recording my album, including my first music video, if money allows me, hahaha For this 2019 I’m going to release my second single, it’s called… (Thinks) Not yet, let’s leave it as a surprise , do a launch concert and seek my respective nomination for the 2019 Pepsi Music Awards and the 2019 Latin Grammys.

Where can our followers find you?

My social networks Facebook and Instagram through @ToñitoLaya, on twitter as @Negrolaya and through my YouTube channel, Toñito Laya

Colombia’s legendary Grupo Niche and its founder Jairo Varela

Grupo Niche was founded in 1979 in Bogotá, Colombia, by Jairo Varela, born on December 9, 1949 in Quibdó, Chocó, and Alexis Lozano, who played trombone and was an arranger, later leaving Grupo Niche to form Orquesta Guayacán de Colombia.

That same year, the group released its first album under the Daro label, entitled Al Pasito, with Jairo Varela and Alexis Lozano as directors, Nicolás Cristancho “Macabí” on piano, Francisco García on bass, Luis Pacheco on congas and singers Jorge Bazán, Saulo Sánchez and Héctor Viveros.

Two years later, Niche’s second production, Querer es poder, was released. The song “Buenaventura y Caney”, included in the album, became the first composition of the group to become a hit in Colombia, said Jairo Varela.

The legendary Grupo Niche of Colombia 2023

In 1983 After a tour of the United States in which they performed before several colonies of Colombians and a short stay in Buenaventura, the group decided to settle in Cali in 1983.

In 1984 and after releasing the albums Prepárate (1982) and ¡Directo desde Nueva York! (1983), Jairo Varela composed and produced the song “Cali Pachanguero”, which brought the group to national and international stardom.

The song, included in the 1984 album No hay quinto malo, was chosen as the official song of the Cali Fair.

After the success of No hay quinto malo, the group began to tour constantly throughout Colombia and other Latin American countries, becoming the most important orchestra in Colombia.

The album Triunfo, Niche’s sixth discographic production, was released in

1985 The song “Ana Milé”, sung by Jairo Varela, became a radio hit. A year later the group incorporated the renowned Puerto Rican singer Tito Gómez, who had previously worked with La Sonora Ponceña and Ray Barretto, the godfather of Latin jazz.

The inclusion of Gómez further boosted the group’s career throughout Latin America. That same year the album Me huele a matrimonio was released, with Gómez and Varela sharing the lead vocal duties.

Colombia's legendary Grupo Niche 2020 — Colombia’s legendary Grupo Niche 2020

Later, another Puerto Rican joined the group, pianist Israel Tanenbaum, who would eventually leave the group to join a parallel group to Niche, Orquesta Guayacán.

Taking advantage of the group’s growing popularity, in 1987 an album of new versions of songs previously released by the group entitled Historia Musical was released.

That year, the director Jairo Varela fired a group of musicians due to their claims for high fees.

Varela hired some new musicians and recorded the album Tapando el hueco, a production that became an instant hit especially for the songs “Nuestro sueño” and “Cómo podré Disimular”.

After the release of the album, Grupo Niche became a sensation in Latin America, especially in countries such as Venezuela and Peru.

In 1989, the group gave a concert at the Campo de Marte in Lima, where it attracted more than one million people, a record number in that country.

To thank the Peruvian people for their incredible welcome, the band released the album Me sabe a Perú that same year. 1989 also saw the release of the album Sutil y contundente, a production that revalidated the group’s good form, especially with songs such as “Mi hijo y yo” and “Miserable”.

In 1990, after the departure of singer Tito Gómez, the group released the album Cielo de tambores, Grupo Niche’s most successful production to date. The same year of its release, Cielo de tambores ranked third on Billboard magazine’s tropical music chart in the United States.

The album’s success was based on the quality of compositions such as “Busca por dentro”, “Sin sentimiento”, “Debiera olvidarla” and “Cali ají” and the massive popularity of the song “Una aventura”. Charlie Cardona and Javier Vásquez provided the vocals for the album.

From that moment on, the group enjoyed international popularity, touring constantly in countries such as the United States, Peru, Mexico and Colombia, as well as making some presentations in Europe.

In 1992 the group released another successful album entitled Llegando al 100% with Charlie Cardona as lead vocalist. The songs “Hagamos lo que diga el corazón” and “No tuve a quién decirle amor” stand out from this production.

After the release of two compilation albums, the group released Etnia, an album recognized especially for the compositions “La Canoa ranchá” and “La magia de tus besos”. The vocalists on this production were Willy García, Álvaro Granobles and Javier Vásquez.

Jairo Varela was captured and imprisoned in 1995 after returning from a tour of the United States.

The musician was accused of front man and illicit enrichment for allegedly receiving payments from the account of a sister of drug trafficker Miguel Rodríguez Orejuela, corresponding to the presentations of Grupo Niche at the Caseta Carnaval del Norte, an event where artists such as Sergio Vargas and Oscar D’León el sonero del mundo also performed.

His experience in jail was reflected in the lyrics of several songs on the next Niche album. 1997’s A prueba de fuego became another commercially successful production for the group.

Colombia's legendary Grupo Niche 2015 — Colombia’s legendary Grupo Niche 2015

The song “Eres”, sung by Willy García, achieved strong radio airplay and its video clip was equally popular.

A year later the album Señales de humo was released, which could not match the success of the previous production.

The group closed the 1990s with the release of the album A golpe de folklore, an album in which the group returned to its musical roots, exploring the folklore of the Pacific coast and emphasizing the “salsa brava dura”.

In 2001, Jairo Varela decided to move Grupo Niche’s headquarters to Miami in order to better focus on the group’s international touring demands.

That year the group published Propuesta, an album that was nominated for a Latin Grammy in the “Best Salsa Album” category, along with productions by prominent artists such as Isaac Delgado, Oscar D’León, Tito Puente, Gilberto Santa Rosa and Tito Rojas, great salsa artists.

In 2005 the group performs for the first time in Japan. That same year the album Alive was released.

In 2007 Varela suffers a heart attack that forces him to quit smoking. Two years later he released a new album entitled Robando sueños, promoted by the single “Un día después” with Elvis Magno on lead vocals. Jairo Varela stated that it was the best song he had ever written in his life.

The death of Jairo Varela.

On August 8, 2012 Jairo Varela suffered another heart attack in his apartment in southern Cali, dying at the age of 62, while he was writing a novel titled “Luces negras”, a story based on the Colombian Pacific that he was unable to finish.

Jairo Varela Founder of Grupo Niche in Colombia

After his death, a large number of songs were recorded on demos and written down on sheets of paper.

Some of these compositions were recorded and included in the posthumous 2013 album Tocando el cielo con las manos.

Yanila Varela, Jairo’s daughter, succeeded him as the group’s director.

At the end of 2014, the group shared the stage with the Gran Combo de Puerto Rico at Madison Square Garden in New York City.

In August 2015 José Aguirre took over the musical direction of Grupo Niche replacing Richie Valdés. That same year the idea of releasing an album with songs composed by Varela that failed to become hits arose.

The idea was finally embodied in a new record production released on October 2, 2015 titled 35 Aniversario, promoted with the single “Niche como yo”, a song composed by Jairo Varela in 1978.

The album received a Grammy nomination for Best Traditional Tropical Latin Album, a Latin Grammy nomination for Best Salsa Album and a Lo Nuestro Award nomination for Album of the Year in the Tropical category.

New stage 2020

Grupo Niche is currently formed by singers Alex Torres, Luis Araque and Alejandro Iñigo, percussionists Juanito Murillo, Fabio Celorio and Diego Camacho, pianist Víctor González, bassist Sergio Munera and musicians Edgardo Manuel, Edward Montoya, Carlos Zapata, Oswaldo Salazar and Paul Gordillo on wind instruments, under the direction of José Aguirre. At the end of the year, Grupo Niche won a Latin Grammy award for the best salsa album of 2020 with “40” and in March 2021 they will win the Anglo Grammy.

Also Read: Leo Pacheco Sonero del barrio and beloved example of father and friend was lead vocalist of the Orquesta Renovación under the direction of the tumbador Nico Monterola.

La Topa Tolondra & its Salsa with Criterion – Colombia

Latin America / Colombia / Cali

Something magical happens in a unique space in Cali – Colombia: Topa Tolondra

La Topa Tolondra & its Salsa with Criterion ¨ A magical place in a unique space in Santiago de Cali¨

Because what matters is the music and its only and great protagonist “la salsa” a whole universe of happy individuals united by the melody, and all this happens because the salsa is tattooed in the hearts of many caleños and visitors to the area who It becomes evident on the dance floor, where you can find that visiting salsa public from all over the world that dances professionally, there are also those who dance well and those who don’t dance, but who doesn’t give a damn? “nothing”.

Those who are stung or guilla of dancers, those who go in sandals, those who go with tennis, those who go with heels, those who go elegant, those who go relaxed, the dreadlocks with long hair, those with afros, the gentleman and the lady, the chickens, the urban cyclists and even the rockers… and the list is endless because what matters is the music and its only and great protagonist “salsa”

“Lovers of Salsa and Bolero romantics attend weekly without age limits” To the rhythm of the Charanga, the Pachanga, the Boogaloo, the Guajira and the Son Cubano, it is enjoyed every night at the Topa Tolondra. Something unique happens in that magical place and that is that everyone forgets what they will say and they enjoy it from start to finish. In addition, local and international artists such as:

Esteban Copete y su Kintelo Paci co, Habana con Cola, Los Hermanos Lebrón, Clandestina Orquesta, Africali, Ebano y Marl, Bailatino, La Negramenta, Bobby Valentín and among others. For special dates ¬these and events such as Halloween that is approaching are organized. In “La Topa” as it is already known in Cali, sounds resound that arrived in the city between the 50s and 70s, where Salsa shapes the body and bolero its spirit, and going a little deeper we also perceive inclusive energies.

“Having fun is the only requirement to attend” “The Environment” For an unforgettable night you need two halves. The first is a table, chairs, water and drinks. And the second, and perhaps the most important: music and hit.

In Topa Tolondra there is plenty of space for gozadera, to sit down, to toast. Time does not run and there is no decache… “La Música” Here they marry the old guard of Los Hermanos Lebrón, Ángel Canales, La Sonora Ponceña, Frankie Dante and La Flamboyán.

The curatorship of its owner Carlos Ospina, its disc jockey and owner, is to learn it. It is not at all about impressing, it is about knowing how to find the subject at the right time.

¨Variety¨ Mondays are for foreigners. On Tuesdays there is a cinema-forum space and separate classes that are included with the 3 for 1 promotion (for every 3 Salsa songs, one bolero). Wednesdays are the best dancers in the city, Thursdays are dedicated to live salsa.

Finally, Fridays and Saturdays are reserved for these traditional Topa. “To Many Degrees” If your hair is long, bring something to tie it up with. If you are wearing a long-sleeved shirt, roll up the sleeves. If you are one of those people who is not used to consuming water, be prepared to drink what has not been drunk in a year. In La Topa you feel the harsh heat, so it is necessary to establish breaks to go outside to cool off “the heat outside will seem cool to you.”

For a round night, the ideal combination is beer, brandy and water, in dosed sips. Does the temperature exhaust? Yes, but it doesn’t matter if the song that is playing touches your ¬bras and reaches your heart. If you don’t know La Topa Tolondra, be sure to go and if you want to get a clearer idea before visiting, visit their fan page on Facebook www.facebook.com/Latopabar but don’t stay intrigued! Location of La Topa Tolondra. Cl. 5 #13-7, Cali, Valle del Cauca, Colombia Telephone: +57 323 5972646

The Conjunto Bailatino “La Resistencia Salsera” again “Antes los ojos del Mundo” and here, “No hay quinto malo”

On April 21, 1991, in Venezuela, Bailatino “La Resistencia Salsera” was founded.

The Bailatino Ensemble, was born as a need to revalue and revitalize the Caribbean musical heritage so diverse and original; a heritage that refuses to die because it is part of our Cultural Identities, that is to say, it does not obey the dictates of fashion, nor the whims of the record companies, but our sense of belonging and our pride for the cultural contribution we have given to the world.

Bailatino represents the Salsa Resistance, Salsa without Concessions; it expresses the influences of the best musical groups that interpret the “Salsa Dura”, but, with its own identity.

Bailatino Llegó... Con Todo!!! 2003 — Bailatino Llegó… Con Todo!!! 2003

The versatility, trajectory and professionalism of each of its members are known and recognized not only in the salsa world, but also in the wide range of Venezuelan music.

The musicians that make up Bailatino are constantly invited to accompany the best national and foreign orchestras that visit Venezuela; they are also requested in important international stages;

They have recorded different musical genres and are members of various Venezuelan orchestras. José “Cheo” Navarro, Marcial Istúriz, Edgar “Dolor” Quijada, Felipe Blanco, Johan Muñoz, Eliel Rivero, Alberto Crespo, José “Mortadelo” Soto, and Alexis Escobar (R.I.P) and replaced by Leo Pérez, make up a compendium of talent, knowledge and experiences whose result cannot be other than excellence and quality expressed in each of their interpretations.

Bailatino Llegó... Con Todo!!! 2005 — Bailatino Llegó… Con Todo!!! 2005

Bailatino is the result of national and international musical influences, such as: La Dimensión Latina, Federico y su Combo Latino, El Grupo Mango, La Salsa Mayor and Tabaco y sus Metales, just to mention a few Venezuelan groups; likewise, Eddie Palmieri, Charlie Palmieri, Grupo Libre, Grupo Experimental Newyorkino, Ricardo Ray, Sonora Ponceña, Fania All Star , Mon Rivera, among others.

In 1995, Bailatino debuted in the framework of the International Theater Festival of Caracas, coincidentally in the spaces that previously was one of the temples of salsa and dance, the now disappeared “Sabor Latino”, formerly called “La Pelota”, sacred contexts of salsa and the nightlife of Caracas.

Bailatino has become one of the most popular and requested groups by the legion of “rumberos” and “rumberas”; salsa men and women, true experts and connoisseurs in the matter.

La Resistencia 2008, Bailatino — La Resistencia 2008

Who organize throughout the year the best salsa parties in Caracas, promoted and spread by means of oral tradition or selling tickets in the famous “Tío Pepe” of Sabana Grande, in Caracas.

These CDs are dedicated to all of them, because with their encouragement we were able to make our dream come true.

Bailatino has also performed on various stages in our capital and internationally:

Museo de Bellas Artes, Corp. Group, Espacios Unión, Trasnocho Cultural del Paseo Las Mercedes; Banco Central de Venezuela, Colegio de Ingenieros, Colegio de Médicos, El Maní es Así; “El Rincón Caribeño (currently “Rumba Aché”), Hawai Kai, El Atrio, Centro de arte la Estancia, celebrated its tenth anniversary at Casa del Artista, Aula Magna, first Metropolitan Salsa Festival, Herman among others. Internationally Bailatino makes his first presentation at the Jorge Isaac theater in Cali Colombia, he was invited to the festival “Salsa al parque” in Bogota Colombia, in 2007 he travels to the city of Dax France for the festival “Toros y Salsa”, in 2008 he travels to Mexico and that same year he performed at the Salsa summer festival in Cali, in that city, he also performed at the prestigious Changó nightclub; in 2009 we were in Australia; all these presentations with resounding success and acceptance.

Bailatino is a network of alliances, solidarity and complicity between musicians, composers, arrangers and friends from different professions and trades, who have contributed their grain of sand so that the Bailatino project, once the proposal was approved by music lovers and dancers, would not remain only in multitudinous presentations and excellent comments from its heterogeneous audience that multiplies every day.

Bailatino, is musical memory transmitted from one generation to another, reinterpreted with all the care and respect that the great masters deserve, who have contributed to design the musical map of Latin America.

The Bailatino group vindicates, once again, the place of honor that Latin Music deserves, not only for the Caribbean, Andean and Afro-American countries; it is a proposal within the framework of a globalized society, but also in a historical moment in which our cultural identities have a great capital to contribute in this multicultural and multiethnic counterpoint that currently exists in the world, in diverse fields and of course in the musical plane.

Currently they are preparing their fifth production entitled “No hay quinto malo”, and at the same time they have released two excellent songs with the brand of “Bailatino”, “Lo mismo de siempre” from the pen of José “Cheo” Navarro and a masterful arrangement José Soto “Mortadelo” in the vocal part Edgar “Dolor” Quijada, the second song entitled “Salsero Soy” composition and arrangements by pianist Alberto Crespo in the voice of the talented young Francisco Rojas and as special guest in this production the Sonero del siglo XXI Herman Olivera performing the song “El que te ama” another excellent composition and arrangements by Alberto Crespo.

Bailatino y Herman Olivera el Sonero del Siglo XXI — Bailatino and Herman Olivera el Sonero del Siglo XXI

For next Friday May 5, 2023 from 8:00 PM they will be performing at the public works club of Maracay in Venezuela with the help of “Taylor Productions” celebrating their 28th anniversary, an event that promises for the public of Maracay since La Ciudad Jardín is their second home.

El Conjunto Bailatino “La Resistencia Salsera”

Fidel Antillano “The greatest satisfaction of a musician is to finish a quality product and see the acceptance of the public”

Latin America/ Venezuela / Caracas

Salsa is an expression of life within the caraqueño and Latin American neighborhoods. This fusion of rhythms has known how to slip in and no one escapes its magic and enchantment. Such is the case of pianist, composer and arranger Fidel Gregorio Antillano, born in the city of Caracas on June 10, 1962 and raised in one of the city’s sound districts, Los Frailes de Catia, where he lived surrounded by salsa groups, street performers, carnival and Christmas parties, enjoying the golden age of the salsa boom.

Fidel Antillano - Photo — Fidel Antillano – Photo

This genre influenced his destiny and allowed him to make it his way of life. Salsa is a cultural condiment with the flavor of many countries, which has managed to transcend borders.

Almost always at home the musical vein is lit. Was this your case?

“There was influence from my relatives, in my house there was always music, it was like a big jukebox, La Billos, Los Antaños del Stadium, la Sonora Matancera, Barbarito Diez, Casino de la Playa, among others, my grandmother lived in El Retiro, in La Pastora, she had a piano, when I went to visit her with my dad, I sat at the piano and I liked what I felt, music was part of my family, my dad was a great music lover, he bought all kinds of records, classical music, Creole music, tango”.

Did your grandmother or your father play the piano?

“No, my grandmother Gregoria “Tata” -we called her that because of our affection-, she was an amateur but she did not play it, she had it as a reference, she played cuatro, my uncle also played cuatro and guitar, my father did not play anything, he bought many Lps, given the house we had -the piano was a kind of furniture that embellished and gave cache to the house-“.

Family photo of Fidel Antillano's uncles Isaías, Pablo and his grandmother Tata — Family photo of Fidel Antillano’s uncles Isaías, Pablo and his grandmother Tata

“My older brother -on my father’s side- he did have some knowledge, he was the most educated, in that house there were harps, cuatro, maracas, records, my family on my father’s side were very fond of music, from our musical family tree we have four musicians -Julito Antillano, Denis Antillano, José “Kikin” Fernández and me”.

What anecdotes or memories do you have of the piano?

“At the time of the construction of La Cota Mil, my grandmother’s piano was taken to my father’s house, at that time I began to kill a fever, I was about 10 years old, it was the time of the gazebos to choose the queens of the neighborhoods, the Sexteto Juventud was in fashion with its theme Caramel and Chocolate; at Christmas and Carnival we did not peel a rehearsal of the groups that lived in Catia”.

That would be the first impulse to awaken the gift within

“Yes, that was my first impulse, I inherited that musical vein from my grandmother and my father, they were close to salsa and folk musicians, besides, my father and my uncle bought a lot of Long Play (elepé), I started working with my

brother in a shoe store and started buying records.

Fidel, I understand that you are a self-taught musician. How was that learning process and deciding that the piano would be the instrument to play?

“Yes, I am a self-taught musician, back in the 70s we used to hear Nico Monterola’s Orquesta Renovación, La Banda y Su Salsa Joven on the radio. To my surprise, we used to meet with those musicians and we used to go and hang around their rehearsals, this had a big impact on me, there were many shows, it was a coming and going of groups of the moment”.

When I was 18 or 19 years old, seeing Salsa Mayor, Pacheco, Carlos “El Grande”, all those great musicians, I made the decision to learn to play an instrument, I looked for a teacher or someone who would teach me to play the piano -Salsa was underestimated and that’s why they thought it shouldn’t be studied”.

He got a teacher

“No, because of what I’ve told you, salsa was seen with bad eyes, the scholars did not see it as music would be, look, at that time I was exchanging the Lp with my friends, in one of those exchanges a friend lent me the album “Musical Conquest” by Sonora Ponceña, when I heard the song ‘Ñañara’ I fell and the entrance of the piano played by Papo Luca, that simple montuno, I was hooked – I said; this will be my thing!

That was the leap you’re hoping for

“Yes, that was the big jump, I went uphill because I didn’t know what a chord was, I didn’t know anything, I mounted 4 songs with simple chords, taking the first steps I fell in love, then I joined people with more knowledge”.

“As there was no one to teach me, I saw books, I had chords of the songs and I was guided by a music theory book, I learned to decipher the codes, music is a code, I read the Swing Latino magazine -from my friend Angel Mendez-, without stepping on a school, I was fed up; one must know about harmony, contra punto, I bought the Berklee harmony book and many more, -I rubbed shoulders with other musicians -some records came as a clinic, all this was feeding me”.

He was his own teacher and a very disciplined student

“I was my own teacher and I took on a discipline because that’s what I wanted, if you went to an institution where they gave music lessons and you said you wanted to play salsa, the musician was fined or thrown out, they were treated in a derogatory way”.

It was worth the effort, from being an empirical musician to playing with the best orchestras.

“I started with Grupo Fósforo, back in 81, we only wanted to play, it was a sextet, Mr. Manuel Ibarra passed me the notes and I didn’t know much about playing, then Jesús “Mandinga” Torres, took me to see different groups, That’s when I decided to introduce brass into the sextet and it became an orchestra, -all the arrangements were done by me-, I had any number of records and many songs from those Lp were not played or played by other orchestras -Gran Combo, Sonora Ponceña, among others-“.

He is a collector

“Not a collector as such, but I do like it, not with the eagerness that any collector has to obtain all the production, as La Sonora Ponceña says, but I have my Lp”.

What happened with the group Fósforo?

“It dissolved because they each started playing for different orchestras.”

And then the Grupo Fósforo

“Mandinga tells me that Carlos “Tabaco” Quintana needs a pianist, I clarify to him that I do not know how to read the scores, that he gives me the papers that I have the album, I began to listen to the album and I saw the papers, with that I completed the study, and I was increasing the experience, I recorded in the production of Tabaco and his Group Futuro”.

“Then with Dimas and his Orchestra Alegria, it was the first album I recorded professionally in the year 85, through those works I was doing with Dimas, I know Mauricio Silva, I felt afraid because Mauricio already had experience, he was the producer of Dimas’ album, but everything flowed, on the way I know many other professionals”.

“In the year 87 Roberto Blades came to Venezuela to the famous events Consul, Alberto Vergara recommended me Manuel Guerra and we made several tours by some regions of the country, then Julito – my nephew – told me that Naty Martinez needed a pianist”.

How was your time with Naty’s orchestra and your separation?

“Thanks to the album I made with Dimas, many doors opened for me, he believed in me and I will always be grateful for that. Through this album, Naty hired me, he already had references from me, and I recorded 4 of his productions with him -Naty, El Legendario, returned, In Dos tiempos and Proyecto Maelo-, with Naty I made my debut at the Poliedro de Caracas, I met Ray Barreto and the pianist Ricky González -he passed me some tricks-, we also went to Colombia and alternated with Grupo Niche and Joe Arroyo, a great growth and learning”.

“I left the Orchestra with a good relationship with Naty, so much so that he called me later to record in the productions, En dos Tiempos and Proyecto Maelo”.

It was a very fast growth

“Yes, I’ve even recorded jingles, I was with the Orquesta Café de Caricuao, I was with Erick Franchesky in the production where he pays tribute to Billos”.

From Salsa orchestras to working with one of the greatest exponents of Caribbean popular music, maestro Porfi Jimenez

“At the time that erotic salsa was introduced, I started to play with Porfi, merengue and snail soup were in fashion, all that music was in great demand, it was a boom, weekly there were 3 or 4 dances, this dragged a great group of followers, with it I go to Tenerife to some carnivals, I have great respect and admiration for the master”.

His time with the group of Porfi opened the doors to work with the group “Los Roques” of Tenerife

“Of course, however, I had left my resume there and one day they called me and told me that they were going to send me the ticket, I was with them for about 7 months, I played in the carnivals of Tenerife, it was something apotheosis, dances and dances did not let me come – laughs – they played merengue, I was blessed to visit Africa”.

All this accumulation of experience allows him to decide to create his own orchestra

“When Porfi was in the merengue boom, however, most of us musicians were salsa musicians, and because of that need to play our rhythm I decided to create my orchestra, but before doing the Combo Antillano we had an orchestra called La Gran Fuga, the singer was Edgar dolor, we killed fever with that orchestra and eventually I played with Naty and Porfi, because of so much activity I played with my orchestra on the days I had free, it was a good time for the groups”.

What happened with La Gran Fuga?

“We made it to occupy the days we had free with Porfi’s orchestra, at that time it had suffered a drop in the number of performances, but when it came back up, we didn’t have time or space to play, – well – it didn’t really dissolve, in fact they always give us caps to reassemble”.

From being the musician of the Orchestra Dé, to being the owner of El Combo Antillano and taking responsibility for a team

“A great responsibility and commitment, but it was time to do the same, we opened the compas playing music from the Gran Combo of Puerto Rico, that was the end, we played the greatest hits of the moment, no other band did, on Tuesdays that was full of people in the different places where we worked, this served as a bridge and accompanied other artists, Andy Montañez and other groups, this made me think about making original songs to record.

What was your first composition?

“The “Afro-Caribbean Music Festival” took place at the New Circus in Caracas, with 30 orchestras participating. Lil Rodríguez asked the orchestras to play original songs, and my first composition was a tribute to Caracas”.

At that moment they take a prize as the most applauded group of the night

“Yes, that was impressive, with Leah’s song, a Mongo Santamaría song, it was something new for the moment, an instrumental discharge”.

Tell us about your record productions

“My first production is called Háblame de Melao (2010), in most of the songs I do the lyrics and arrangements, was something new, the black Mendoza puts me to record and tells me to do theme by theme, we made 21 track, but in the album only put 19, this production was made to recognize the singers, Dimas Pedroza, Teo Hernandez, Angel Flores, Larry Tovar, Luis del Valle “Don Wicho”, Rodrigo Mendoza, Eloy Rios, a tribute to them and highlight our people.

“The second, Fidel and the descarga de los Frailes (2013), here we handle the Salsa, Latin Jazz, Danzón, has a lot of instrumental music before starting the rumba, I had the desire to work and create with a sense of belonging, I made an innovation in the melody with the electric guitar and flute, I did not want to continue recording on wet”.

“and, Caracas en su Salsa (2018), is a tribute to the Salsa of Caracas, in this production we have 14 songs”.

Through this production you made a documentary with the same name, which begins with a beautiful phrase of Cabrujas “Caracas Suena. The city was made to be heard, not to be seen”. How would your interpretation of this hidden city be?

“There is a city that cannot be seen, but it is there, and although the media does not show it to us, we can notice it, through, for example, the musical groups that exist in our neighborhoods and that become visible when there are events, like the one organized by Héctor Castillo (+) in 1983, where we could realize that there was a whole cultural movement hidden in each of our neighborhoods”.

“So I urge this type of inter-neighborhood events, which allow the visibility of the hidden Caracas.

Another of his passions is composition. At what point does the muse come to him?

“At first sight I fell in love -laughs-, -Bella Cubana-, to compose you must have a little bit of each thing, love, dislike, joy, sadness, they are not always experiences of the composer, sometimes if, in the variety is the taste, in my case I work with the rhythmic part and I put lyrics, and more than muse is a mixture”.

He makes songs with meaning that captivate the audience

“You like your audience to identify with your songs, the lyrics are thought-provoking.”

Does the song I don’t want to live in the dark have to do with any experience?

“That one was written by Carlos Navarro and I arranged it for him, it was a personal experience of his. I was in a treatment centre and he talked to me about it, I decided to do the arrangement”.

In the music industry we have many issues of strip and shrinkage, is the case of Domina tu lengua

“Sometimes people think that a song can be a strip and shrink, because of the content of the lyrics, in this case it is not, this was written by the Cuban producer Luis Llamo”.

What gives you the most pleasure as a musician?

“Finishing the product with quality and seeing the acceptance of the public, when you are in the studio and you realize that it looks better, then it sounds on the radio, seeing that the public sings it, dances it, that’s priceless, that’s the greatest satisfaction”.

Which of your productions has given you the most satisfaction?

“Tell me about Melao.”

Why?

“There is a great variety of rhythms in it, I had the opportunity and the satisfaction of exchanging with a large number of people from outside, in it is the theme Pa’ Barlovento, in it exported what is ours, our native rhythm, Venezuelan Sangueo, the Culo e’ Puya, the San Millán”.

What have been your musical influences?

“I wouldn’t be a musician if it wasn’t for Papo Lucas, trying to emulate what he did, as a musician, arranger and person, I admire him a lot, from here comes my influence, -in what time he learned everything he knows-, that makes him incredible, apart from the master Tony Monserrat, an independence with his left hand, he was a virtuoso”.

Many begin by imitating a style, versioning lyrics from other groups. What do you think of the copies, has creativity been lost?

“It’s a resource that is used, at a certain moment, it’s a hook, I barely had the opportunity to do my work, one must have the ability to discern where to play each song, maybe many are afraid of not liking it, or not being accepted”.

What do you think this fear is about?

“Perhaps not to be broadcast on the radio stations.”

He believes that more support is needed from the various media

“Yes, the lack of support sometimes makes one fear, it’s worrying to touch on a subject and the track gets empty.”

That’s when the artist turns to the hated payola

“I don’t agree with the payola, but it is a necessary evil, all the work that an orchestra owner does generates expenses, and after making an investment you need a retribution; previously live performances were a springboard, they projected a lot to the groups, that has declined a lot”.

What has happened to the Bolero in productions, you don’t listen to them anymore?

“The record companies are more determined to sell, that’s why I think they stopped recording, the new generation should identify with that rhythm, there are many beautiful boleros and if they stop recording they might be forgotten”.

Fidel, what new projects are on the way?

“Right now I’m recording with Angel Flores -record pocket- the song is called Callejon 107, is dedicated to the experiences of Latin American neighborhoods, is a son montuno very tasty, lyrics by Flores and with arrangements by this server”.

At this time when humanity is going through a hard test for its survival, what message would you leave behind?

“There is advice to live a life attached to good habits, one must live under these guidelines, the book of proverbs is wisdom… The man who walks in integrity walks confidently”.

By Eling Blanco, ISM Jounalist Correspondents, Caracas, Venezuela