Search Results for: Latin Music

The unfortunate closure of Salsa Power and its great legacy

What Salsa Power did

Logotype of Salsa Power — Logo of the Salsa Power web page

There have been many groups and personalities that, despite the low level of resources they had, have made efforts to promote Latin music, especially salsa. The case to be treated today is that of a website with a great deal of contributors and much fame that came to be regarded as one of the most important internet sites for the promotion of our culture in the field of music. We talk about Salsa Power and its titanic work in favor of our cause.

The important page dedicated to the promotion of salsa and founded in 1999 had approximately 300 local correspondents in more than 50 countries around the world, indicating the immense number of individuals who wanted to get involved in the promotion of Latin culture to rise to unexpected levels. Its co-founders, Jacira Castro and Julian Mejia were the ones who started this great initiative, which they tried to maintain through an enormous effort. However, this was not enough to avoid its definitive closure in 2021.

Jacira Castro, founder and director of Salsa Power

Closure of Salsa Power and what has produced it

In a statement that can still be read on its official link https://www.salsapower.com/ both in Spanish and English, Castro explains the unfortunate reasons for making the difficult decision to close the web portal. At the beginning of the short text, the also salsa instructor and web designer explains how Salsa Power started and what made it become one of the biggest salsa initiatives that could be found around the internet, whose heyday may be reflected in the large number of contributors they had in some 61 countries.

A very important detail that the dance teacher relates in her text is that she also worked as a volunteer and never received money or advertising of any kind in exchange for doing what she was so passionate about. She highlights that she always paid all her hosting and development costs without receiving collaboration of any kind.

She goes on to explain that time goes by and, after 22 years of the founding of Salsa Power, many correspondents made their lives, left the cities from which they reported its activities and devoted to things that had nothing to do with salsa. It was reported that this was the primary reason why they made such a drastic decision.

Jacira next to Johnny Pacheco — Jacira Castro and Johnny Pacheco

However, Castro concludes her statement with a message of hope in which she claims she will never cease to dance, showing that the aforementioned genre remains her greatest passion and nothing and nobody will change her mind. She finished saying that she can still be found on the dance floor in Lisbon, Portugal, where she now resides permanently.

Even today, there are many interviews collected by various other online media that can still be read, reviews and opinion pieces that reflect the extensive knowledge and enthusiasm that the writers had for their work. There is an endless amount of material that bears evidence to many years of hard work and dedication that we know all of this will not be in vain.

From International Salsa Magazine, we send cheers and our best wishes to each and every single one of the correspondents and workers who did their best to make Salsa Power an obligatory reference for anyone who wanted to know the latest news of Latin music.

Talented Nicaraguan Ernesto Tito Garcia and his amazing artistic career

His life and career

Ernesto Tito Garcia is a Nicaraguan bandleader and timbalero who has been part of many musical groups that passed from romantic salsa to mambo and many other Latin genres.

This astonishingly gifted artist has been playing professionally since the year 1971. A few years later, he formed his first orchestra called Ritmo 74, which was in charge of opening up for the biggest names in Latin music from back in the day. Both Ernesto and his fellow musicians were noted for their ages and the musical styles they used at the time.

He experimented with Latin rock during his youth until he heard salsa for the first time and wanted to devote himself fully to that musical genre. After spending a long time playing romantic music, he decided to experiment with hard salsa and added his own style to the rhythms played by La Orquesta Internacional.

Ernesto Tito García — Talented Nicaraguan Ernesto *Tito* García

Our conversation

We are very happy to get him in International Salsa Magazine today ready to go and talk a little about his life and musical career.

My father signed me up for music lessons. I did not like them very much, but they kept me busy and interested me. Thanks to those lessons I took once a week, my ear opened wide and I learned to read music, which is a very rare thing for a timbalero. In 1969, I was 13 years old and my dad was paying for weekly accordion lessons and when Santana came out in my eighth grade, I heard my first timpani and knew it would be my instrument. That’s when I told my dad not to spend money because I wanted to play the timpani. He was a good man who died in my arms because of the same cancer I have today.

On Broadway Street, San Francisco was where I began to learn how to play the timpani. My dad helped me buy my first timpani and I found a group that played Latin rock just like Santana, which gave me the opportunity to develop my technique. When I was in San Francisco, I did not hear much of salsa because it was more present in New York City, but my dad bought some records recommended by a friend containing the last of salsa. That was the first time I heard salsa and I was playing Latin rock with the group I already mentioned. When I heard that music, I met a girl who was interested in buying an electric piano that belonged to my girlfriend’s brother who was 15 years old at the time. From there, we formed our first orchestra in 1974, which we called Ritmo 74. When the music outside like Eddie Palmieri or Tito Puente came, people over 40 years old also came, but young people did not like it because the music was very regimented and had many pitoretas (wind musical instrument, also known as clarion).

Tito on the beach — Ernesto *Tito* García on the beach

About the time Willie Colón came out was when the orchestra started getting big because we were the young people of salsa. I was 16 or 17 years old, while the oldest member was 26 or 27 years old. We had agents who gave us the opportunity to open up for the biggest names in New York like Eddie Palmieri and Willie Colón. At that time, we were the only orchestra of our generation with that kind of playing. We were growing up, but the thing is that I liked education and for whatever reason, I found that I made good grades.

As our fame grew here in the Bay Area, I had to devote much time to rehearsals, learn new songs, among other things. That’s why my grades started to fall and I was about to graduate from high school. The last two years were the most important ones at school, so I realized I would not be able to do both at the same time. So I decided to quit music and knew the only way in which I could do it was to sell my timpani, so I went to a store and they gave me $60 for them.

I got my grades up, was admitted by San Francisco State University and the first year was amazing, but I met other Latino students who also played music. They began renting a room right there on campus to rehearse, so I did not have to go somewhere else. It was there that we founded La Orquesta Salsa Caliente and as soon as we got to be known, people liked us. About two or three years later, my grades started to fall again, so I quit music again. I graduated from College and was admitted to the school of optometry in 1985 or 1986. Thanks to that diploma I started working with a very skilled Salvadoran doctor. He was a surgeon and ophthalmologist. When I formed my own orchestra, I had two very simple rules for the members. The first was that when we played, we could not take any kind of drugs or alcohol, while the second was that we had to always wear a suit and a tie, that’s what no other youth orchestra did.

This is Mike Rios — *Tito* García and Mike Ríos, who designed the album covers for Santana

Do you think that the style of mambo that your orchestra plays is what makes it unique or are there other elements that stand out?

First of all, when I formed the orchestra, romantic salsa was in vogue just like its exponents included Eddie Santiago, Tony Vega and many more. The problem was that the music was boring because the arrangements were very simple. In 1996 or 1997 was when I heard Tito Puente with his orchestra playing mambo and that is what gave me the idea to do the same with four or five pitoretas. That’s when I lost several musicians and singers because they wanted to sing romantic salsa, but I was tired of that.

So, we started playing what I called hard salsa, which had mambo arrangements and singers who knew how to perform it. That combination pushed us on a new level. Those who wanted to sing romantic salsa formed their own orchestra. Julio Bravo was one of my favorite artists and I helped him with some musicians. There was also my comadre Denis Corrales, who formed her women’s orchestra. The orchestra looked very good with all the girls, but it was not what dancers were looking for. There is also the case of Venezuelan Eduardo Herrera whose voice was incredible and he also grew up with salsa music, but he did not know how to sing hard salsa.

Tito García and Tito Puente — Tito Puente and *Tito* García

Do you think having musicians from so many different countries has to do with the final product you present to the public?

This did not have a lot of influence on our music. Back then, our orchestra was called Salsa Dulce. When my agent retired, I got stuck with the orchestra. He wanted the orchestra to have my name in its title but did not want it to be too obvious, for example, Los Titanes de La Salsa Con Tito García or El Gran Combo Con Rafael Ithier. Regarding nationalities, the singer was Venezuelan, the bass player was French, the pianist was Peruvian, the conguero was Puerto Rican, the saxophonist was Irish and the trombonist was American as was the trumpet player. It was the reason why my agent suggested me to call it Tito García Y Su Orquesta La Internacional. I liked how it sounded so much that I called the group that.

What are your future projects?

I can mention an album dedicated to Tito Puente and am going to record it between San Francisco and Nicaragua. The problem is that his family has the rights to all his music and I do not know if they give me permission to do it. I hope they are not going to charge me a lot for those rights. Of course, we are going to make money with the project, but costs are much more comfortable and negotiable in Nicaragua. That is one of the reasons why I want to do it there.

Timpani of Tito garcía — *Tito* García’s timpani

Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”

Born on December 7 he comes from a very humble family but full of lots of love and flavor.

Roots:

my dad played the guitar and serenaded all the women in the neighborhood, my mom loved to play and sing, she would take a pewter plate and improvise a güiro and start playing and singing hahahaha. I also had an uncle who was a singer of Mexican music (Rancheras) my first recording was in 1965 with the Sexteto Tropical.

That’s where I come from.

Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero” y Dj. Augusto Felibertt

How many productions do you currently have?

In total I have about 45 productions with different groups, but with my Conjunto COCO Y SU SABOR MATANCERO I have 8 productions.

In your musical trajectory, which musicians have left their mark on you?

The first one was my debut in the professional field with Maestro Porfi Jimenez and the stars of Venezuela.

This was in 1974 where I had the joy of being the first Venezuelan singer to perform with Las Estrellas De Fania at the Nuevo Circo de Caracas.

And also to have accompanied great stars of Latin music with my Conjunto COCO Y SU SABOR MATANCERO.

Among them the Queen Celia Cruz, the Inquieto Anacobero Daniel Santos, Celio Gonzalez, Leo Marini, Nelson Pinedo, Lino Borges, Mundito Gonzales, Canelita Medina, Trina Medina Cheo Garcia, Memo Morales, Oscar D Leon and others.

Of the productions you have, which is the most significant?

One of them is the album entitled Coco y Su Sabor Matancero “Sabor Ritmo y Calidad” where the great singer and (sonero) José Alberto el Canario participates as director, chorus and co-producer.

And the other significant one is COCO Y SU SABOR MATANCERO CON “TODO” because there I managed to bring together several artists of the stature of Wilmer Lozano,

Mariana la Sonera de Venezuela, the comedian and singer El Moreno Michael and Rodrigo Mendoza, also the floor singers Luis Muñoz and my son Coco Ortega Jr.

How many productions have you participated in as an independent producer of your own?

Born on December 7th, he comes from a very humble family but full of love and flavor. — “Coco & su Sabor Matancero”

The first was Yo Soy El Son Cubano, Coco y Su Sabor Matancero en Concierto, a Gozar con Mi Son Cubano, Coco y Su Sabor Matancero Original, Coco y Su Sabor Matancero Tremendo Comban and Coco y Su Sabor Matancero “Con todo”.

Where are you currently living and how do you see the music scene there?

At the moment I am in Caracas Venezuela

At present, as in all parts of the world, we musicians have been the most affected since the work has declined too much, but we hope that with God’s favor things will open up little by little and that we will become aware that this is not a game and that we have to take care of each other.

Have you been in the best time of your life and what do you miss the most?

What I miss most is the era of the 70s, 80s, 90s.

When we played in three and four places on the same night.

Tell us about your last production?

As I told you, I had the pleasure of bringing together first class singers and the result was Coco y Su Sabor Matancero “Con Todo” (With Everything).

Coco y Su Sabor Matancero (ft: Rodrigo Mendoza) – Margot, tell us about this song?

Let me tell you that this song Margot is a Venezuelan waltz pasaje of which three versions have been made, the first interpretation was made by a great representative of our Venezuelan Music as it was Don Mario Suarez, then it was made by a great Peruvian musician Don Lucho Macedo.

And the most resent by Coco and its Matancero flavor and the person selected to interpret it was one of the great singer (sonero) Rodrigo Mendoza for his great interpretative quality of our Latin Music.

Do you miss Venezuela, your homeland?

The time I was living in the United States I missed daily my dear and always loved Venezuela, now I am in my homeland Venezuela.

What are we currently expecting from Coco & su Sabor Matancero?

My most recent production titled “Un Guaguancó Páramo” which was released on December 16, 2021.

“Un Guaguancó Pá mi Barrio” by Angel Flores, a song that brings together eight great

manages to bring together eight great exponents of our Latin music.

Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”

Performers:

Coco Ortega Jr.

Coco Ortega

Mariana “La Sonera de Venezuela”.

Angel Flores

Yorjan Cardona

Jimmy El León

Marcial Isturiz

Rodrigo Mendoza

Arrangement and Musical Direction:

Félix Guzmán “Guachafa”

Members Coco y Su Sabor Matancero:

Coco Ortega general director – singer, minor percussion

Andrés Romero “Tapón” – Trumpet

Cesar Guares “El Guaro” – Trumpet

Félix Guzmán “Guachafa” – Bass guitar

Franklin Infante – Piano

Igor Cochyze- Timbalito

José Araujo – Tumbadora – Singer

Coco Ortega Jr. – Singer

Yorjan Cardona – Singer

Backing Vocals:

Carlitos Guzmán

Eloy Blanco

Special guest:

Leo Pérez – Flute

Article of Interest: Fabián Rosales Araos Chilean singer-songwriter, native of the city of Valparaiso

Louie Ramirez “The Quincy Jones of Salsa” and his progressive talent a genius-in-hidden of Fania All-Stars

The most progressive arranger and innovator of New York Salsa in the 70s and 80s.

Music often requires characters who are always backstage and support with their talent the work of singers and performers, who are eventually the ones who “come forward” and assume the popularity. Sometimes, though, these anonymous characters shot to fame in order to be able to perform their own work and even become more popular than any fashion singer.

a Hidden Genius of La Fania All Stars — The most progressive arranger that Salsa had in New York.

In the case of Pop, this character is named Quincy Jones, who was said to be the arranger for Frank Sinatra and the producer for Michael Jackson. A “nonentity”. In the case of Salsa, these characters have been symbolized by the emulator of Jones, a guy named Louie Ramirez who has done everything with everyone.

An afternoon in 1994, Ramirez was driving his car on the highway that took him to Variety Studios in New York. It was going to be a quick session because he only lacked one track to complete his 20th album as a bandleader. Perhaps this is why he was nervous and full of anxiety. Minutes later, he could not resist the feeling and had to stop the car. He had not finished doing it when a heart attack ended his life.

Introducing Louie Ramirez

The fact was that Louie had the answer and visiting him was like rubbing Aladdin's lamp. That was a characteristic that always accompanied him, since that first recording "Meet Louie Ramirez" in 1963. — Introducing Louie Ramirez 1963

Louie Ramirez was a genius. The one to whom all run for advice and solutions to their problems. It did not matter if they were young or old musicians. The fact was that Louie had the answer and visiting him was like rubbing Aladdin’s lamp. That was a characteristic that always accompanied him, from the first recording “Meet Louie Ramirez” in 1963.

He was 20 years old back then and had a good record with regard to composing some pachangas and arranging for the orchestras of Pete and Tito Rodriguez. Commentator Dick Sugar introduced him like this: Ramirez breaks through the image of a bandleader who uses the talents of other composers and becomes a follower of a rhythm. No, Louie Ramirez is a creator in his genre.

Louie Ramirez Ali Baba

star of Fania Records and, at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez soon found himself in a busy schedule and was only able to record two albums during the sixties, "Good news" and "Alí Babá". — Louie Ramirez ‎ Ali Baba

That talent did not go unnoticed by the new Czar of Latin music in New York, Jerry Masucci, who hired him as a star of Fania Records and at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez was soon wrapped up in work and could only record two albums during the 1960s, “Good news” and “Alí Babá”.

The last album included the hit that allowed him to be a famous artist, El Títere, a true Salsa classic. The song was performed by Rudy Calzado, the third of the soneros Louie had used without finding the right one. It was a ballast that stayed with him as a director during the 1970s, when he used singers such as Pete Bonet, Tito Allen, Jimmy Sabater, “Azuquita” Rodríguez, Adalberto Santiago, and even Rubén Blades.

Louie Ramirez y Sus Amigos

Ramirez was considered in New York as the most progressive arranger that Salsa had. — Louie Ramírez y Sus Amigos

It was precisely Blades that he made an anthological album with, “Louie Ramirez y sus amigos”, which included the song Paula C, with an arrangement of those that deserve to be admired. By then, Ramirez was already considered as the most progressive arranger of Salsa in New York, thanks to the brilliant works done for the Fania All Stars. An excellent work had been the instrumental arrangement for Juan Pachanga, to be performed by Blades, from Canta for a performance by Cheo Feliciano, and of the entire album “Algo nuevo” performed by Tito Rodriguez with Louie’s orchestra.

Noche Caliente

But the high point of Ramirez's career came in 1980 when Joni Figueras, a representative of K-Tel International's K-Tel label, took Ramirez's career to a new level. — “Noche Caliente” and was recorded by Louie Ramirez’s own orchestra.

The peak of Ramírez’s career was in 1980 when Joni Figueras, a representative of the K-Tel International label, hired him to maka arrangements for the ballads Todo se derrumbó and Estar enamorado by Manuel Alejandro. The album, which included these and other songs, was released two years later under the title “Noche caliente” and was recorded by Louie’s orchestra.

Ballad-salsa or romantic salsa was born as a result of a work Ramírez did until his death, making occasional attempts in Latin Jazz, which he loved. That is why he recorded a tribute album to Cal Tjader in which Louie was the director, producer, composer and arranger. Apart from that, he played the timbales and his favorite instrument: the vibraphone.

Louie Ramirez was a genius of arrangements, in a career that included Guantanamera and Isadora for Celia Cruz, El Guiro de Macorina for Johnny Pacheco and El Caminante for Roberto Torres.

The Cesta All-Stars Vol. 1

The Cesta All-Stars
Vol. 1

Further to that, there are his works for La Alegre and the Cesta All-Stars. Regarding this Ramírez’s profile, critic Eleazar López defined it very well.

“It is not easy to arrange for a dance orchestra, especially when it is a group that cultivates the hot tropical genre. Many musicians feel influenced by Jazz and the result of their orchestrations leaves a vacuum in the dancer”.

Others arrange in a simple way, but it is so simple that they repeat and copy themselves, and the result is tired music, without any degree of creativity: music that says nothing, that leaves nothing. Louie Ramirez has found the perfect balance… that’s why he always stays relevant.

Louie Ramirez has found the perfect balance... that's why he always stays relevant — Louie Ramirez The Hidden Genius of La Fania All Stars

Article of Interest: Bobby Valentin, the King of Bass at the Fania All-Stars Machinery

#ISMPublicity

Live The Salsero Rhythm In Asia

Thailand and Hong Kong are the two countries on the Asian continent that begin January with the sound of Salsa

couple dancing to Ritmo Salsero in Asia in Samui — Thailand and Hong Kong are the first two countries to start January to the Salsa rhythm

2022 starts in Asia to the Salsero rhythm with Dance Classes and a Festival. Thailand (located in Southeast Asia) is the first country to hold a Latin music festival after two years of cessation of social events due to the pandemic. Also, Hong Kong does its part, announcing the new season of Salsa Classes from the first week of this month. So don’t wait any longer and keep reading to find out the details of each event related to Latin music.

Koh Samui Latin Festival (4th Sensual Edition)

Couple dressed in colorful clothing dancing at Koh Samui Latin Festival — Koh Samui Latin Festival starts on January 13th from 9 AM

Koh Samui is the third largest island in Thailand. It has beautiful beaches and is located on the southern coast of the country. In this main island destination, the Koh Samui Latin Festival will take place in its fourth sensual edition at the Resort & Hotel Fair House Beach.

This one-of-a-kind festival with Latin morning beach parties (Four days), nightly training camps, workshops (from 10 AM to 5 PM), social dances, and themed shows (starting at 11 PM) with professional DJs will begin on Thursday, January 13th from 9 AM and will end on Sunday, January 16th at 4 PM.

The dance floor for the entire festival is 2,700 square feet. The large living room is equipped with air conditioning, a light system, and a quality sound system.

The beach parties at sunset will also take place at the Fair House Beach Resort & Hotel between 5 PM and 8 PM specifically at the “Sea Paint Beach Bar” near the beach with DJs playing the international hits of Salsa, Bachata, and Kizomba hits in the chill-out style.

The price for the four days of the festival is $ 75 (Full Pass) and includes an official festival t-shirt, access to all workshops (excluding training camps), entry to the three theme and beach parties, the Jack & Jill, and the shows.

The event venue, Fair House Beach Resort & Hotel is located on a hillside right next to Koh Samui’s Chaweng Noi Beach. Within the vicinity of the hotel, you will find a wide range of shops, numerous restaurants, cafes, bars, and other entertainment places.

Venue: Fair House Beach Resort & Hotel. Koh samui 124-124 / 1-2 Moo 3 Tambon Bophut, Amphur Koh Samui Suratthani 84320, Thailand

Salsa After Work

Couple dancing salsa with masks — End your workday dancing Salsa in the company of Dance With Style on Mondays and Wednesdays at Rula Live and Fire ‘N’

For eight years (2014) the Rula Live bar has delivered its premises to Salsa every Monday from 8 PM with free Salsa classes at all levels with Dance With Style. This Monday, January 3rd at 8:30 PM is the start of Afro-Caribbean dance lessons from beginners to advanced dancers. Then, the dance floor is open between 9 PM and 1:30 AM. Rula Live is at 58-62 D’aguilar Street, Lan Kwai Fong, Central, Hong Kong on the ground floor.

You can access this Latin event wearing masks throughout the party and hand sanitizers are available in different areas of the establishment. The dress code is elegant, so T-shirts, shorts, sportswear, and flip-flops are prohibited. Admission is also free but you must consume at least two drinks to enjoy the free Salsa classes.

You Can Also Read The Interview With Nora Suzuki

Dance With Style is a Hong Kong dance, events, and entertainment company that stands out from its competitors by offering high-quality Salsa, Bachata, and Salsa Cubana instruction for all ages.

This company also brings Latin Vibes Salsa / Bachata Party every Wednesday at Bar / Restaurant Fire ‘N’ located at Shop #2, ground floor, cosmos building, 8 – 11, Lan Kwai Fong, Central, Hong Kong.

Admission is free and you have the right to a Bachata class at no cost. DJ Javed will mainly play Salsa Romántica with a mix of Bachata, Merengue, and other Latin rhythms from 8:30 PM to 1:30 AM.

Every Wednesday night after work you will enjoy a lot of Latin music in a relaxed and friendly atmosphere, and if you are hungry you can enjoy its Thai menu. You must wear a mask at all times (except when eating / drinking) and sanitize your hands regularly. The dress code is elegant and lessons start on January 5th.