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Tito Nieves The Pavarotti of The Salsa
Humberto Nieves, (Río Piedras, Puerto Rico, June 4, 1959), better known as Tito Nieves, is a Puerto Rican salsa singer of American origin, known by the nickname of The Pavarotti Salsa.
Tito Nieves
Tito Nieves began his career while participating in Orquesta Cimarrón, a group that originated in New York.
In 1977, he teamed up with singer Héctor Lavoe and his Orchestra and joined the Conjunto Clásico.
In 1979 in New York he recorded the production with the outstanding boricua composer Jhonny Ortiz for the Fania Records label that same year in Puerto Rico under the support of the New Generation label. Tito Nieves recorded with the also boricua percussionist Julio Castro and the Massacre the production of El Pregonero.
Later, Nieves decided to start his solo career in 1987, apart from singing salsa in English.
He is known for his hits such as El Amor Más Bonito, Sonámbulo, and the English-language salsa hit, I Like It Like That.
In 1988 he was presented with the opportunity to record for the RMM label. His first big hit for the company was the song “Sonámbulo”, a composition by Leo Casino, which appears on his first album for RMM, entitled “The Classic” which reached a gold record.
With this album, Tito Nieves definitely imposed his interpretive style, launching himself to conquer international markets, setting the tone for other artists who later form the nucleus of what is known as “The Sound of New York”, championed by RMM.
“Yo quiero cantar”, the second album for RMM in 1989, brought a pleasant surprise. The English-language song “I’ll Always Love You”, taken in the style of salsa, became a hit on English-language radio stations.
Thanks to this and other songs, the album reached the numbers to be credited as a Gold Record. With this production Tito Nieves expanded horizons making the famous “crossover” to the Anglo-Saxon market.
His third production “Déjame vivir” in 1991 reached a platinum record, including the hits “De mí enamórate”, “Te amo”, “Déjame vivir”, “Almohada” and “How To Keep The Music Playing”. His fourth recording was released in June 1993 under the title “Rompecabeza (The Puzzle)”.
Inspired by the success of his songs in English, Tito decided to include two songs in this language “Can You Stop The Rain” and “You Bring Me Joy”.
In 1995 his fifth album, “Un tipo común”, was released, produced in Puerto Rico by Cuto Soto and had arrangements by Ramón Sánchez, Julito Alvarado, Louis García and Cuto himself. The production included the song “No me vuelvo a enamorar” by the Mexican singer-songwriter Juan Gabriel and with arrangements by Sergio George.
Another surprise on the album was Tito’s version of Selena’s classic song “No me queda más”.
Tito Nieves definitely had a strong impact on the Anglo-Saxon market with his sixth production recorded all in English “I Like It Like That”. This song took him to great stages such as the UPN TV show VIBE.
Hits from the album Fabricando Fantasías (2004) include Fabricando Fantasías and Ya No Queda Nada with La India, Nicky Jam, and K-Mil.
In 2005, he released Hoy, Mañana and Siempre which contains the hits Esa Boquita, Si No Fuera Él and Tu Belleza.
In 2007, he released Canciones Clásicas de Marco Antonio Solís, a tribute to Mexican singer-songwriter Marco Antonio Solís
Historical events that gave birth to kizomba
History of kizomba
There are many musical genres and rhythms that we love and make us want to dance just by listening to them, but in most cases, we do not know their origin or how they became what they are today. Such is the case of kizomba, whose origins are both particular and fascinating, so we want to explore a bit about this interesting story for the knowledge of all those readers who still do not know it.
This dance modality that has become well known in Latin America and the United States in recent years has its origins in Angola in the 1960s as a fusion of ”semba” and other African rhythms, but it was not as simple as it sounds. In fact, many things happened before kizomba became what we know, some of which have to do with historical events that led to the creation of this musical genre indirectly.
Historical context
Angola was colonized by Portugal in the 16th century, fact from which the European country began to impose its culture, language, religion and political system in the occupied territory. In the same way, the colonizers took advantage of the Angolans in every possible way, but the best known was the labor exploitation to which they were subjected to obtain resources and the suppression of their national identity.
The situation became so unbearable that there has been an emergence of numerous anti-colonialist movements throughout the country such as the National Front for the Liberation of Angola, the People’s Movement for the Liberation of Angola and the National Union for the Total Independence of Angola. This resulted in the Angolan population demanding the rights they had as inhabitants from their own country and which had been forcefully taken away from them. The following years were marked by intense armed conflict, a lot of political instability and international intervention.
Finally in 1975, Angola gained independence from Portugal to become a country free from the yoke which settled down on it for decades. However, the legacy of colonization in every area of national life was so profound that it could not be swept way from one moment to another, including traditional music and dances. Both Angolan music and dance ended up mixing with European and Portuguese rhythms in general, resulting in a colorful range of sounds that have been conquering the whole world.
Origin of kizomba and its name
Returning to semba that was mentioned at the beginning, it was its union with other African rhythms such as zouk that gave origin to kizomba as such. The word ”kizomba” comes from ”kimbundú” or ”quimbundú” which means ”party”. Kimbundú is a language spoken in some Angolan provinces and the Portuguese language incorporated some of its terms such as ”xinga” which means ”curse”.
On this subject there is much controversy, since lots of hypotheses are floated to explain the origin of kizomba and one of them states that this genre does not exist as such, but it is a version of the already existing zouk, but sung in Portuguese. There are also some studies indicating that kizomba comes from ”bèlè”, which is a dance inherited from African ancestors who came to the Island of Martinique as slaves to work in the sugarcane plantations.
By mixing bèlè and the European polka, Martinican musicians created something called ”beguine”, which was spreading in Parisian popular dances. When these rhythms were mixed with more commercial music in the 1970s, zouk originated and this term makes direct reference to the spontaneous parties in Martinique. ”Zouk” means ”party” in Creole, which is a language spoken by West Indians that emerged from the mix of French with other African languages. Coincidentally, it has the same meaning as ”kizomba” in Kimbundu.
After zouk spread to French Guiana and Brazil, it returned to Africa, especially to Angola and Cape Verde, where it merged with semba and finally gave birth to kizomba.
What how is kizomba is today
Kizomba tended to be slow-paced and static and not required many turns, but that changed with the passage of time. Today, it includes legs tangled and recreates much more visual moves than before.
Something that characterizes the genre is the circle dance with forward and back steps, which has been very appealing to dancers from all over the world despite their origin. Besides, it is very easy, sensual, different and exotic.
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National Zalsa Day in its XXXIX edition a total success
Sunday, March 19, 2023, the 39th edition of National Zalsa Day returned to the date established in 2000 with the approval of Law No. 100, which decrees the third Sunday of March of each year as National Salsa Day.
This edition of the activity of worldwide importance, which has almost reached four decades since its first edition at the José Pepito Bonano Park in Guaynabo, demonstrated Z-93’s support for the proposals of the new generation. That promise, made in its 38th edition, has been fulfilled.
The day began at about eleven in the morning. The Orquesta del Rey de Puerto Rico, winners of the contest held in Panama to select the talent to be presented yesterday on the DNZ stage, was in charge of the ignition.
As soon as this first intervention culminated; the orchestra of Robert Burgos shone in a change of rhythm something more cubaneao. When the sun was at its hottest moment, Maelo Ruiz arrived on stage for the first time as a soloist, accompanied by the musical direction of his nephew, the outstanding percussionist of the so-called nueva cepa: Jean Carlos Camuñas. Pirulo arrived on stage with his usual urban charisma, stealing the hearts of the new salsa
The fifth intervention marked the arrival of the Orquesta del Día Nacional, led by the multifaceted Isidro Infante. The orchestra backed Nino Segarra, who enchanted the audience with Entre la espada y la pared and Porque te amo; Yolanda Rivera, who performed Se formó and Hasta que se rompa el cuero as well as a descarga in front of the timbal; Luigui Texidor, who sang Boranda and Moreno soy.
Next, “El Niño Bonito de la Salsa”, Ismael Miranda arrived accompanied by his family and Pastor Alex D’ Castro to receive from Néstor Galán -better known as “el búho loco”- the well-deserved Estrella Award, instituted as part of the annual salsa day.
Once the Estrella Award was presented to Miranda, Pichie Pérez sang El sonero del bailador and a medley of the songs that consolidated him as a singer when he was part of the giants of the south, the Sonora Ponceña. These were: Hacheros pa’ un palo, Fuego en el 23, El pío pío and Yambeque.
After Pichie finished his performance, Alex D’ Castro took the stage and gave the evening its climax with Te fuiste, Como si nada and Si no fuera por ti. Alex was followed by the new promise of salsa, already recorded, published and released by Sony Music Latin: Luis Figueroa.
As part of the tribute to the 50th anniversary of the establishment of Típica 73, there was a reunion on stage of singers Tito Allen, Adalberto Santiago and José Alberto “El Canario”; backed by the manager of Típica 73, Johnny Dandy Rodríguez. Tito Allen performed Guancona and Guaguancó de los violentos. Adalberto Santiago showed off his voice with Mañoño and La candela. For his part, “El Canario” arrived with his usual scenic mastery with A la hora que me llamen voy, Esta noche pinta bien, Xiomara -a theme in which he was accompanied by Tito Allen and Adalberto Santiago- and Baila que baila.
After the segment in which the three singers came together again, bongos player Johnny Dandy received the tribute on behalf of Típica. The first intervention of the DNZ Orchestra closed with Domingo Quiñones in an energetic interpretation of Salsumba, a song with which he participated in the production El número 100 of the “King of the Timbal”, Tito Puente.
When the afternoon wanted to give way to the night, Charlie Aponte’s orchestra was in charge of keeping the audience in the necessary mood to continue with salsa. The songs that Charlie kept the audience captive were Arroz con habichuelas, Se nos rompió el amor, Teléfono, Esos ojitos negros, Goyito Sabater and Gracias salsero.
Preceding the tribute to the “King of the Timbal”, on the 100th anniversary of his birth; India showed off her interpretative quality, evidencing her well-earned title. Yes, India is “la más que canta”. Her interpretation of Vivir lo nuestro, Dicen que soy -a song for which she was accompanied by Sergio George on piano shortly after he brought her a birthday cake on stage-, Ese hombre and Mi primera rumba showed her vocal virtuosity.
The concert was closed by Tito Puente, Jr. surrounded by timbaleros Nicky Marrero, Endel Dueño and Orestes Vilató, under the musical direction of timbalero José Madera. Tito’s guest singers for the closing were Frankie Figueroa, Frankie Morales and Melina Almodóvar.
Bella Martinez
Writer, Afro-Caribbean Music Researcher
Fanny Almenara better known in the salsa environment as “La Sonera del Callao”
Sonera of Callao, who maintains an impeccable musical career, loving music and recording numerous songs as a soloist and with various singers of first order of the Afro Latin Caribbean genre.
The salsa singer named Fanny Almenara, better known in the music scene as the Peruvian Sonera, was born in Callao, daughter of Don Hector Almenara and Carmen Barreto, the second of 9 siblings.
Fanny studied singing thanks to her mother, she met the best teacher, Mrs. Ana Maria Parodi and entered music at a very early age in the lyrical genre.
Her salsa collector father made her listen to the best of the best exponents such as Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, etc.
At the age of 16 she fell in love with the genre called salsa and had the honor of singing with Junior Gonzales for the first time and alternated Grandes with Peruvian Orchestras such as Peru Salsa de Beto Villena, Las Estrellas de la Máquina de Boris Gómez, HIt Parade Latino del Callao, La Nueva Generación de Franco Crovetto.
She was chosen as the best new voice of the salsa genre in the 80s.
She made recordings for different groups, and also recorded an unpublished song of her own entitled “Yo te Espero”.
Between the 70s and 80s came to Peru Las Leyendas Latinas with Ray Barreto and Adalberto Santiago, gave him the great opportunity to sing with them Quítate la Máscara.
Then with Linda Caballero (lLa India), the song Mi Primera Rumba, then with the pharaoh of salsa Oscar D’ León the song Toro Mata, also with the great Hermanos Lebrón the song sin negro no hay guaguancó.
With the owner of Soneo Carlos “El Cano” Estremera the theme Ámame en Cámara lenta, with Frankie Vázquez the theme Cuarto de Tula, with Yolanda Rivera the theme Rumba en el Patio, Vity Ruiz brother of Frankie Ruiz the theme La Cura, with Aldalberto Santiago the theme Nadie se salva de la rumba.
And so with her imposing voice Fanny captivated the attention of the greats of salsa, representing Callao and for which the people of Chalaco named her “La Sonera del Callao” (The Sonera of Callao).
For her vast artistic career she was awarded by different musical associations and by the company Pilsen Callao.
(H3) Asocosalsa Peru (Tite Curet Ceremony, Hector Lavoe Bust, Charlie Palmieri and 25th anniversary of artistic life (Okonkolo Association).
Fanny Almenara, continues her impeccable musical career, loving music and recording a song entitled Amor de Mis Amores, salsa version with the Orquesta Ng del Callao director Franco Crovetto.
Although she was in a halt due to the pandemic, she recorded a Challenger “El Virus Se Mata Con Musica” invited by a Cuban musician, which was also recorded by Cuban artists in different parts of the world.
After her voice reached Cuban websites such as “Benny More” “Un Millón De Adalsoneros” “Al Son Del Pinar Del Rio” she was invited to the “Son 8 de mayo” days led by the gentleman of the son Adalberto Alvarez.
Then she also recorded a song written by the King of merengue Milly Quezada “Gracias A Ti” dedicated to those who are always on the front line as doctors and nurses in the Covid 19 and the last thing she has recorded the production of the song La Sitiera Tribute to the diva of Cuba Omara Portuondo in which in that production participated Nelson Gonzales in the tres: Eddie Montalvo on congas, Nohelia Zambrano on violin and Luis Perico Ortiz on trumpet.
Website: Fanny Almenara Oficial