 |
 |
 |
 |
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
“We are the Real Latin music world network”
 |
 |
Search Results for: Latin Music
The Superimposition of Conguero Eladio Pérez
Conguero Eladio Perez was born on May 5, 1946, in Cataño Puerto Rico
He alternated at the side of renowned orchestras and stellar figures of Salsa. He was a great percussionist with a career that includes collaborations with Tito Puente, Tito Rodríguez, Tommy Olivencia, Justo Betancourt, and Puerto Rico All-Star, one of the main ones is the one he did with Eddie Palmieri, with whom he recorded nine albums, four of which won Grammy awards.
Eladio gained fame as a member of the Orquesta del Maestro Eddie Palmieri, appearing in the band for the first time in the album Superimposition.
His first recording was with La Orquesta del Maestro Eddie Palmieri in 1970.
“A real scorcher from Eddie Palmieri as much a transition as Superimposition and the kind of record that would have a huge impact on Latin jazz in the 70s! Eddie’s got one foot in the small group styles of his 60s work, but he’s also reaching forward in a mode that’s rootsy and modern at the same time a back-to-basics approach that’s tremendously focused on the rhythm, and which mostly uses heavy percussion and piano to layout the grooves then tops them off with some jazzier riffing on brassy horns.”
Eddie’s piano is sublime throughout — crackling with life and energy that barely made it onto record before, and hitting notes that are modern, yet which sit comfortably next to the earthier grooves of the rest of the band. Ismael Quintana’s on lead vocals.”
He was a member of that “Ecuación Palmeriana” of the song 17.1 (download included in that LP) together with Chucky López and Nicky Marrero (it was said that 17.1 was the average age of the three young percussionists).
Eladio Pérez participated in the recordings of Vámonos Pa’l Monte, Harlem River Drive, the live LP at the University of Puerto Rico, and the two Salsa Grammy winners (Sun of Latin Music and Unfinished Masterpiece).
In the anthological song “Un Día Bonito” there are two congueros: Tommy López Sr. is the soloist in the opening rumba guaguancó and Eladio descarga in the solo accompanied by the entire band.
Around the same time he formed the Orquesta La Única with Julio Castro, Carlos Santos and Junior Córdova.
Years later, in 1976, Pérez was recruited by Frank Gregory to be part of the Puerto Rico All-Stars.
Charlie Palmieri and Roberto Roena also enlisted the services of the percussionist. When Eddie Palmieri returned to Puerto Rico and formed his new orchestra, he again called upon the conguero from Cataño, who shared credits with Giovanni Hidalgo (bongo) and Charlie Cotto (timbales).
1973, unloading of timbales in Panama with the man from Toa Baja Héctor Endel Dueño Rivera and the orchestra of maestro Tommy Olivencia in the song Cuero Na’ Ma where Eladio Pérez on congas, Papy Fuentes on bongos, with the intermission between each unloading of Reynaldo Jorge, Victor Candelario on trombones, the voice of Sammy González with the chorus of Paquito Guzmán and Papy Fuentes.
This song comes from Tommy Olivencia’s album “Cueros…Salsa y Sentimiento” from 1971 for the Inca Records label, but it was originally composed by Tito Puente in 1949 when he had Vicentico Valdés on vocals and Manny Oquendo on bongos.
In 1973 the Orquesta LA UNICA and Friends with the song PA’ LA RUMBA that comes on the album of the same name, composed and sung by Junior Córdova, with the direction and bongos of Julio Castro, the congas of Eladio Pérez, the timbales of Pedro Roque, Angel Rivera on piano, the trumpets of Joe Cepeda, Roberto Ramírez and Norberto Torres among others.
One of the last times we saw his name in recording credits was on Justo Betancourt’s Mató album.
On July 30, 2018, he dies while hospitalized at the Puerto Rico Veterans hospital.
El Conguero Eladio Perèz…Caballero
Facebook: Eladio Pérez
Article of Interest: Bella Martínez presenta “Las memorias de Jimmie Morales: un conguero para la historia”
Alfredo Villamizar Alfredo Villamizar one of the most spectacular and sensational Venezuelan percussionists
On this occasion it is appropriate to honor in our salsa column one of the most spectacular and sensational Venezuelan percussionists, Alfredo Villamizar, born in Caracas on August 2nd.
Welcome maestro Alfredo to “Salsa Escrita” and International Salsa Magazine, www.SalsaGoogle.com, it is a pleasure to have you as our special guest.
Thank you Professor Carlos, for inviting me to your renowned salsa tribune for all Venezuelans who are in my country and also for those of us who are currently abroad.
Well, let me tell you that for me it is already a commitment to support musicians who make Afro-Caribbean music and you in particular Alfredito, you could not miss this appointment with regular readers; now, tell us how did you get started in Latin music? I started with the orchestra “Renovación” of Nico Monterola, whom I consider my teacher, I continued acquiring knowledge in the timbal with Alfredo Padilla and I learned with Alfredo Franchesky (Cutuflá).
Alfredo, you are considered one of the timbaleros with a high level technique in the rhythmic execution of this instrument and you are catalogued as one of the best worldwide; let’s see, tell us with which orchestras have you participated? My friend Carlos, I can mention among many others the Oscar D’León Orchestra, Evio Dimarzo’s Adrenalina Caribe, Hildemaro’s Orchestra, Nico Monterola’s Renovación Orchestra, Andy Durán’s Orchestra, Erick Franchesky’s Orchestra and Urbanda de los Hidalgo, among others.
Excellent Alfredo, and at the international level, who have you accompanied? I have accompanied Celia Cruz in Spain, as well as Papo Rivera and Alex de Castro in Venezuela.
By the way, Alfredo, I understand that you have composed some songs. Indeed, my friend Colmenárez, the songs I have composed are: Malditos celos, El brujo Pincumpán, Canto a la vida, Luna llena; which are included in a production recorded in 2005 and also of my authorship stands out the theme “Allá va el lobo” of the collection “Venezuela Demo 2”, vocalizing Aníbal Vegas.
Let me tell you professor Carlos, that I have dictated workshops and clinics of timbal, in the 23 de Enero de Caracas and in the Mamera Keyboard Museum, next to the teachers Edgardo Morales and Alberto Borregales. Currently, since 2017, I am based in Chile, performing various activities and hoping very soon to return to Venezuela, God willing.
Alfredo, for me it is a great satisfaction to have you in Salsa Escrita, because I have always followed your career and your way of playing the rhythm with the drumsticks in the pailas. Finally, we would like to give us your digital platforms and a farewell message.
Very well professor Carlos Colmenárez, thank you for your good concepts towards me, you can contact me by email: [email protected] and on Facebook: Alfredo Villamizar. Thank you very much professor for allowing me to interact through the Barquisimeto salsa column, as it is “Salsa Escrita”, which I think should be called with your permission “La Columna Salsera de Venezuela”, for the support you give us all the salseros of my beloved country. Blessings and keep it up, Professor Carlos.
By: Carlos Colmenárez Correspondent in Venezuela
Europe – July 2021
The Spaha Salsa Gallery and The Johnny Cruz Show to the order of salsa
Spaha Salsa Gallery
Latino culture has found a large number of icons and places that have shown how wonderful it is and how proud we must be of being born in this land full of colors and talent for export. One of those incredible places is the Spanish Harlem Salsa Gallery, which is a cultural institution in which the inhabitants of East Harlem, New York, have the opportunity to learn all about salsa and its unusual roots. To that end, visitors can enjoy a great deal of material, information, resources, and many learning initiatives that will blow everyone’s mind.
The purpose of this wonderful space is to gather as much knowledge as possible about salsa and all the artists who have been responsible for bringing this musical genre to every corner of the planet. That is why its owners have been in charge of offering the most inclusive and diverse gallery to prove everything Hispanic talent has to offer. The institution provides a wide range of possibilities for those who want to learn more about the most well-known Latin music genre in history, and art is the tool used for this purpose.
What the Spanish Harlem Salsa Gallery is looking for
One of the major aims of the Spanish Harlem Salsa Gallery is awakening the interest of the inhabitants of Harlem and the surrounding neighborhoods towards the musical styles that have inspired the five continents to dance. This is how this space became a valuable resource for many other public and private institutions, which have used the museum to foster greater interest in their own activities. This is because many of the tourists visiting New York know that it was in that city in which the biggest salsa movement in history took place, so they are particularly interested in going to places where they can learn about how salsa came about and what its roots are. That is when institutions such as the Spanish Harlem Salsa Gallery make an appearance and offer to answer any question on the matter.
Johnny Cruz, a noted musician and record producer, has made this place a true sanctuary for Latin music lovers and all that emerges from it. The museum, which was once a hardware store owned by his father, contains some of the most valuable objects in the history of salsa and that have a very special relationship with some of the greatest figures of the genre, such as Héctor Lavoe’s favorite guitar or José Mangual Jr’s bongos. This collection of objects has been made in order to preserve the legacy of the greatest exponents of the salsa genre in New York for people to remember who they were and what they contributed to Latino culture in spite of the years. Something very interesting to relate is that many of these instruments have been donated by artists, family members, or institutions that want the names of their owners to continue to sound as loud as possible.
Undoubtedly, Cruz and his greatest contributors in this noble work have ensured that locals and foreigners see the gallery as a space for recreation and learning in which they can learn about the origins of salsa and go back to the glory days with many of the greatest musicians in history.
The Johnny Cruz Show
In addition to the salsa museum, there is another space where Latin music artists will always feel at home. We are talking about the Johnny Cruz Show, which has a very interesting schedule and shows how wonderful our culture is.
The show is celebrating 25 years on the air and will be co-hosted by animator and show biz reporter Maribel Santos, who will definitely give a very special touch to this great celebration, which makes Johnny too happy. So many years on the air are the reward of the effort made to offer the best salsa content that the public deserves.
This show is one of the best options that salsa lovers have to know everything related to its best exponents and the latest news on these issues. The cool thing about this is there are many platforms through which those interested can enjoy the talent of Johnny Cruz as host and interviewer, so it will not be difficult to find each of the editions of this great program. In addition, all five counties in New York City can watch the show on cable television.
If case of not living in New York, you can tune into the show on its social media tools. For the time being, The Johnny Cruz Show is available on Facebook, Twitter, Instagram, and YouTube. It can also be watched on Salsa Gallery Radio live at the Live 365 station and the possibility of putting it onto podcast platforms in the future is under evaluation.
Link to the Spaha Salsa Gallery’s official website: spahasalsagallery.com
By: Johnny Cruz correspondent of International Salsa magazine in New York city, New York