Search Results for: Latin Music

Miguel “Angá” Díaz the percussionist who made his name in the ranks of Cuba’s legendary and enigmatic Irakere group

Miguel “Angá” Díaz (1961-2006) was a valuable and prolific Cuban percussionist. With his explosive solos and the creation of five conga toques, “Angá” was widely acclaimed as one of the world’s great congueros.

One of the mainstays of Afro-Cuban rhythm in recent times, Angá played with a multitude of jazz stars, from Chucho Valdés, Chick Corea or Steve Coleman, to Roy Hargrove, Minino Garay, Chano Domínguez and Herbie Hancock, among others.

The claim that he was one of the best percussionists in the world is backed up by the Grammy awards he won, his participation in such important projects as Buena Vista Social Club and the Afro-Cuban All Stars, and his status as sideman of geniuses like Tito Puente, Herbie Hancock, Carlos Santana or Danilo Pérez, as well as his membership in legendary groups like Irakere, according to Más i Más, the organizer of his concerts in Barcelona.

Miguel "Angá" Díaz el percusionista que se dio a conocer en las filas del legendario y enigmático grupo Irakere de Cuba — Miguel “Angá” Díaz el percusionista que se dio a conocer en las filas del legendario y enigmático grupo Irakere de Cuba

Father of three daughters – the eldest living in Cuba and the two younger ones in Paris – Angá never stopped searching for new forms of musical expression, experimenting with the fusion of different styles, such as jazz, African sounds, rock and hip-hop.

He was committed to the development of the conga, breaking the traditional barriers of percussion, to introduce them into classic Latin rhythms while preserving their distinctly Cuban roots.

He played with several Cuban artists, including Irakere, Afro-Cuban All Stars, Buena Vista Social Club, Omar Sosa, Omara Portuondo, Tata Güines, Rubén González and Orishas.

At that time he recorded and toured frequently with international musicians such as Steve Coleman, Roy Hargrove, Baba Sissoko, Ry Cooder, Pascal Coulon, Mezzadri Malik, Montgomery Buddy, Pascal Coulon and John Patitucci. Angá’s musical journey was a personal quest to investigate and create new sounds and rhythmic fusions.

More than just an artist, Angá demonstrated his commitment to the development of his instrument, teaching master classes at various schools and universities in North America and throughout Europe.

For Paris-based Argentine percussionist Minino Garay.

“He is indisputably one of the great percussionists of his generation; the greatest of all. His death causes me enormous sadness, as if it were a story that did not end,” lamented Garay, who will not attend the funeral this Friday, due to the fact that on that day he will give a concert in Vance, in the south of France. “I will certainly dedicate it to him,” he added.

Miguel Angá Díaz (1961-2006) fue un valioso y prolífico percusionista cubano

Angá Díaz received his formal education at the Escuela Nacional de Arte in Havana, Cuba, and after joining the Latin jazz groups Opus 13 and Irakere, where he perfected his conga playing technique, he moved to Europe, where he devoted himself to exploring the fusion of styles, bringing Cuban music closer to other musics and thoroughly investigating the relationship between Afro-Cuban polyrhythms and technology.

In the summer of 2005, Angá released his first solo album EChu Mingua, which the musician himself described as “a musical religious mass. Spiritual music is when the spirits are invoked to come down to earth, inviting them to a party or to talk to them”, and that is “the whole concept of the album”.

Transgressor of conventions, Angá emerged as an independent, free and committed musician with a wide variety of projects, from experimental jazz with Steve Coleman and Roy Hargrove, and hip-hop with the Orishas, to his participation in Omar Sosa’s tours, in addition to participating in numerous alternative projects with musicians from all over the world.

Angá’s musical trajectory was a tireless search, whose main purpose was to explore and create new sounds, as well as rhythmic fusions.

Source: jornada.com.mx

Miguel “Angá” Díaz

You can read: Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”

Salsa and its detractors “Caiga quien Caiga”

International Salsa Magazine through salsagoogle.com presents Crisanto Edecio Romero Carpio from the Pearl of the Caribbean, Margarita Island and the history of our Caribbean musical culture.

A few months ago in conversations with my friend Salvador García Landaeta, a man with a great trajectory in the musical and radio field and a great connoisseur of the world of Salsa, I made a comment about the name of the title of this publication.

The history of our Caribbean musical culture has had a roller coaster of ups and downs in terms of our musical heroes.

La Salsa y sus detractores Caiga quien caiga

But the fact is that since our Caribbean musical identity was baptized with the name of Salsa, the so-called detractors began, an endless number of opinions that yes it was me, that yes it was sultanito, etc.

There began the tejemaneque, opinionators of office, radio inquisitors, professional payoleros, businessmen fascinerosos, and there was no shortage of rolo e vivos who took ownership of issues that were not even theirs to feast.

But I go much further because even in the Mecca of cinema some people got rich with some movies that it is better not to remember them so as not to play the game and not to stain the name of one of the best Salsa interpreters of all history.

Now, are we in the XXI Century or are we still in the Middle Ages? Our Latin Thing called Salsa today resists a demonic onslaught of criticism and a musical advance poor in lyrics and a denigrating theme towards women, our women, our daughters, our mothers. A vulgar and dishonest language and with an advertising, radio and audiovisual apparatus that costs millions of dollars worldwide.

But Salsa is still there, in every corner, in every neighborhood, in the old LPs that we keep as true musical treasures, in every gathering and conversation among friends.

It is necessary to point out that all is not lost, people who from their communication trenches make a very important contribution.

It would be mean of me to point out any one in particular but when this “Message” arrives, many will know who I am referring to.

This article was a debt with my Salsera people, and to them I dedicate this reflection a day after learning of the death of one of the best interpreters that Puerto Rico has given, I am referring to Ubaldo “Lalo” Rodriguez.

I admired Lalo since his beginnings with Palmieri, his time with Machito and then with his solo project. A career full of successes, awards, and a situation that led him to face the evils of our society where it is easy to get in but very difficult to get out.

Crisanto Romero, Edgar Dolor Quijada y Salvador Garcia

The musical career of Lalo Rodriguez, a horse that was born among the greats and became Immortal (although some boasted of “killing him” after his death). Sad and painful for those characters.

Salsa does not die and will never die. And I close my commentary with a phrase written more than 2000 thousand years ago; let him who is without sin cast the first stone.

Crisanto Romero.

For the Ataca Quintero Project by Jaime Quintero and Salvador García.

https://www.facebook.com/crisantoedecio.romerocarpio

You can read: Hector Maisonave Manager of the Greatest Salseros in New York

Salsa singer Angel Rumba and what he has to say

Interview with Angel Rumba

Angel Manuel Ramos Sanchez, better known as Angel Rumba, is a New York singer of Puerto Rican descent with whom we had the great opportunity to talk about several issues of importance such as the beginning of his career with Pancho Bongó Y Su Orquesta, his debut as a soloist, the meaning behind his lyrics, among other things. It is a pleasure for us to have talked with this Latin talent and to bring the story to all our readers of International Salsa Magazine.

His beginnings

Ramos Sanchez was born in New York City in the 1980s, when there was a well-established salsa movement in New York City and the United States in general. Evidently, little Angel could not be left out of this trend, especially if we take into account that through his veins ran Latin blood.

In addition, his father was a singer, musician and guitarist, so he always listened to salsa, merengue, bolero and other genres at home. It was at the age of seven when he started playing güiro, bongo and conga due to the curiosity generated by his father’s work, who spent a lot of time teaching his son to play as many instruments as possible.

In 1992 when Angel was 12 years old, he started playing with an orchestra called Projecto 3 in the city of Allentown, which represented his first opportunity to be on stage and show his face to an audience waiting to see what he could offer. It could be said that this was the beginning of what would become his life’s work.

Moving to California and Pennsylvania

Given that Angel’s father was a truck driver, the family had to move around a lot until 2003, the year in which he moved to Puerto Rico and lived there for three years. In 2006, he moved permanently to Pennsylvania, where he has been living until today.

Release as a solo artist

When asked about his release as a solo artist, Angel stated that ”my beginnings were with merengue, but salsa always fascinated me because I really liked soneros such as Ismael Rivera, Gilberto Santa Rosa, El Canario and many more. I saw them improvising on stage and I always wanted to do the same.”

In 2014, he was given the chance to belong to the group Pancho Bongó Y Su Orquesta, which he was a member of for more than seven years until he wanted to make his own project in 2020. He felt he had the experience and took all the necessary stages to get to that point. In addition to that, being subject to command of a musical director greatly limits the creativity of the artists and the New Yorker singer no longer felt comfortable with what he was doing at that time.

The singer is also a composer and was not allowed to play his own music with the orchestra, which also led him to seek new horizons and, in turn, record his first solo track.

While acknowledging that this was no easy decision, he says that he has no regrets about it and all that he has been given from then until now has been a blessing for him and his family.

Obstacles during his solo career

On this subject, he confessed that many of his orchestra fellows were not happy with his decision to leave the group and he even felt that certain figures tried to put obstacles in his way so that he would not succeed in the way he wanted to. This is one of the reasons why he prefers not to show so much about his work and future projects to the public to avoid problems.

”Mi sentimiento En Rumba”

The process of making this album was not easy, since the artist had to knock on many doors until making contact with Rafael Lozano, who arranged the first song ”Sin Un Amor”. This was a cover of a song by Los Panchos, so we can say that it is a tribute to the group in a totally different genre.

We went looking for musicians from several countries to work with u among whom was Angel Guzman, who plays trombone, baritone, saxophone, trumpet and many more. He also told us about sound engineer José Guerrero, who makes the mixing and mastering of the songs.

The album includes six songs composed by Angel himself and three that were adapted such as ”Perfidia” in a bolero version as a gift for fans of musical trios.

In total, the whole project has two merengues, two boleros and the rest are salsa songs.

Angel Rumba's last album ‘’Mi Sentimiento En Rumba’’ — Angel Rumba’s last album ‘’Mi Sentimiento En Rumba’’

Salsa in a market dominated by trap and reggaeton

”Every genre has its audience and every artist has his fans” was what the singer answered when asked about the challenges facing a salsa singer in these times. With this, he shows that it does not bother him in the least that there are more popular genres than salsa and that every artist could have a strong fan base without this meaning involving damage to another one. He says that he will continue to create music with his favorite rhythms in spite of passing trends.

One thing he did emphasize is that there should be more artists who focus on writing and creating original music instead of doing so many covers. A lot of creativity is needed.

The importance of continuing to promote romantic love in the lyrics

The salsa exponent says that it is very important that music continues to promote romantic love and bring positive messages because unfortunately there are many genres focused on negative stuff such as disrespect for women, drugs, violence and much more. The salsa singer seeks to make his contribution to creating a better society in these hard times.

”The lyrics of the songs have always influenced society because their meanings anchor in the minds and the message endures” said Angel about this issue.

First edition articles ISM

From Repression to Liberation through Salsa

Interview with Isidra Mencos, Author of Promenade of Desire, A Barcelona Memoir

By Luis Medina

Isidra Mencos is the author of the engrossing, page-turning book, Promenade of Desire, A Barcelona Memoir. This book is a frank, honest and revealing coming of age story as a young woman in the transitional period marking the end of the Franco dictatorship to political freedom in Spain. It chronicles her formative experiences growing up with her family, embracing her sexuality, her relationships with men, discovering her liberation through Salsa music and finding herself.

Isidra Mencos, Author of Promenade of Desire, A Barcelona Memoir

LM: In your memoir Promenade of Desire, you describe your fascination with Salsa music as a liberating force during your coming of age as a young woman. Why Salsa music?

IM: I grew up in Spain under a dictatorship closely allied to the Catholic church. It was a very repressive atmosphere, not only politically but also culturally and sexually. From a very young age I learned to associate sensuality and pleasure with shame and guilt, so I felt disconnected with my body.

When the dictator died in 1975, I was 17 years old and in college. Spain transitioned to democracy and the culture went from repression to liberation and hedonism. That’s when I discovered Salsa music and dancing. From the moment I heard Salsa for the first time, I knew it was the music I had waited for my whole life. Although I didn’t know the steps, I was instinctively in sync with the beat.

Salsa allowed me to reconnect with my body and my sensuality in a guilt and shame-free way. It opened the door to a new me, a young woman aware and accepting of her body’s needs and desires. I fell in love with the great Salsa icons of the 70s, from the Fania All Stars to Rubén Blades, and Los Van Van. I went dancing three or four nights a week, until 5 a.m. I couldn’t get enough.

Salsa scene in the eighties

LM: What was the nascent Salsa scene like in Barcelona in the eighties?

IM: Salsa was not yet popular in Barcelona, where I grew up. Spain had been very isolated from other countries during the dictatorship and did not have significant immigration until the mid-70s so the exposure to this music had been limited. When I started dancing in 1977, there was only one dump of a club in the red light district, appropriately named Tabú, full of seedy characters. I was there all the time.

In the 80s Salsa started to gain traction and a few other places popped up. A very famous one at the time was Bikini, which was in a more bourgeois, safer area, and had two rooms, one for Salsa and one for Rock. Every single night the DJ would end the gig with “Todo tiene su final” with Hector Lavoe and Willie Colón. I loved it.

By the time I left Spain in 1992 there were four or five clubs dedicated to Salsa, and live concerts with iconic figures had started to come to the city. There were also Catalan bands that played salsa standards, like Orquesta Platería and others.

LM: What was the popular music in Spain at that time?

IM: Rock and punk were the most popular. Punk represented the rebellious spirit of the youth, who had grown oppressed and now had the freedom, in the new democracy, to be outrageous and excessive without consequences. A very famous punk group was Alaska y the Pegamoides.

LM: Your ex-boyfriend Abili was a prominent pioneer in promoting Salsa Music in Barcelona during that era. Can you describe the triumphs and challenges that he had promoting Salsa music?

IM: Abili had fallen in love with Salsa before me. He was a journalist by profession and had come into some money due to a labor dispute. He decided that he would invest that money into making Salsa as popular as any other type of music in Barcelona. He produced concerts with Salsa greats like Rubén Blades, Eddie Palmieri, Ray Barreto, Luis Perico Ortiz and others, who came to Spain for the first time. Unfortunately, he was a bit ahead of his times. There wasn’t still a big enough audience to fill in the venues, and he lost a lot of money. That said, he was a major contributor to popularizing Salsa in Barcelona. For example, he ran a weekly Thursday salsa night for a few years at a club, with a live band (Catalan players) and a DJ, and you could see the club filling up more and more every week.

He later got involved with one of the major Salsa spaces in Barcelona, El Antilla, programming the live bands and promoting the scene.

LM: You have visited Barcelona throughout the years since you immigrated to the United States. What are the differences that you have seen in the Barcelona salsa scene?

IM: Salsa is now very well established in the city, in part due to the increasing numbers of Latin American immigrants who started coming in the 80s and the 90s. There was a big wave of Cuban immigration starting in the 90s which changed the direction of Salsa in the city, making timba and rueda very popular, for example.

Salsa was also taken on by several bands which mixed Catalans with Latina American immigrants, and produced great music, such as Lucrecia or, nowadays, Tromboranga.

That said, when I go back now I notice that there are less venues that offer live bands on a regular basis. It’s more of a DJ scene with dance instructors.

LM: In the book, you described Salsa music as a passionate force in your life as you dealt with your family, relationships with different men, sexuality, and the transition in Spain from Franco’s era of dictatorship and repression to freedom and democracy. What do you want the reader to take from reading your book?

IM: I think we all have repressed one or more parts of ourselves from childhood on, in order to be accepted by our parents, our teachers, our friends, our bosses…. My memoir is an inspirational tale about finding a way to reclaim the parts of yourself that have been hidden and becoming a whole person again.