Search Results for: Latin Music

“Alfareros” launches “Guerrera”

One of the countries located in the Caribbean, we have the Dominican Republic being the 2nd largest island in the Caribbean, where the most popular music is Spanish and African, in rhythmic, tonal and harmonic aspects.

The Catholic Music Ministry Alfareros, are the winners of the Latin GRAMMY 2018 in the category “Christian Album in Spanish”, released their most recent single entitled “Guerrera”

Which is a sticky musical cut of meringue with a typical flavor, which serves as a tribute to all women who face the battles and phases that life holds for them every day as true warriors.

The launch coincides with the celebration of 25 years in the art of ALFAREROS. Junior Cabrera, director of Alfareros and composer of the single, affirms that “Guerrera”, “is a hymn of hope and with it we want to recognize all the women fighters, who without fear have faced or still face diseases, abandonment, discrimination or violence”.

Felina Tejada, is the main interpreter of the song and one of the most recent members of the group, shares that “this song is a call for joy and faith, in this time of trials in which the world is facing the pandemic of COVID-19 ”

Along with the song, a video clip has also been released, shot in the city of Santiago de Los Caballeros, Dominican Republic, directed by Kelvin J Bido and in which some twenty (20) “warriors” appear as protagonists, whose testimonies have been growth and blessing for many people.

The single and the video are now available on the YouTube and Spotify digital platforms, as well as on the Ministry’s social networks (@alfareros).

Alfareros - Guerreras — Alfareros lanza Guerrera integrantes

Alfareros, directed by Junior Cabrera. Its vocalists are Katia del Cid (Guatemala), María Fernanda Wilches (Colombia), Oscar Roque (El Salvador) and the Dominicans Felina Tejada, Artemio Vargas and Fermín Amador.

They were winners of the Casandra Award 2005 from the Association of Art Chroniclers of the Dominican Republic as Religious Association of the Year and the Latin GRAMMY® 2018 for their production “70 times 7”.

They are the first and only Christian group to perform a full house concert at the Altos de Chavón Amphitheater with the concert “A Chavón for you” in 2005. This concert was also nominated at the 2006 Casandra Awards in the Concert of the Year category: first time for a religious concert.

Throughout their career they have performed in mass meetings and concerts throughout the Dominican geography, as well as in the United States, Mexico, Colombia, Panama, El Salvador, Nicaragua, Puerto Rico, Guatemala, Ecuador, Peru. They were also part of the artistic attractions of the World Youth Days in Sydney (Australia), Rio de Janeiro (Brazil) and Panama.

The musical productions they have are: Un Canto Nuevo (1995); Do what He tells you (1997); Pa’Lante (2000); The Day Has Come (2004); From Blessing to Blessing (2008); All my Love is For You (2011); 70 times 7 (2018).

All are available for free download on their web portal www.alfareros.do

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Mark Weinstein Flutist, composer and arranger

North America / United States / New York

With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn where he was raised.

Between then and age 14 when he started to play trombone in Erasmus Hall High School, he tried clarinet and drums. Playing his first professional gig on trombone at 15, he added string bass, a common double in NYC at that time.

Mark learned to play Latin bass from Salsa bandleader Larry Harlow. He experimented playing trombone with Harlow’s band and three years later, along with Barry Rogers, formed Eddie Palmieri’s first trombone section, changing the sound of salsa forever.

With his heart in jazz, Weinstein was a major contributor to the development of the salsa trombone playing and arranging. He extended jazz attitudes and techniques in his playing with salsa bands.

His arrangements broadened the harmonic base of salsa while introducing folkloric elements for authenticity and depth.

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn — Mark Weinstein Flutist, composer and arranger

The only horn in a Latin jazz quintet led by Larry Harlow in the jam session band at the Schenks Paramount Hotel in the Catskills

The only horn in a Latin jazz quintet led by Larry Harlow at the jam session band at Schenks Paramount Hotel in the Catskills, soloist and arranger with Charlie Palmieri in the first trumpet and trombone salsa band in NYC, arranger and featured soloist along with the great Cuban trumpet player Alfredo Chocolate Armenteros in Orchestra Harlow, and with the Panamanian giant Victer Paz in the La Playa Sextet, and with the Alegre All Stars, Mark’s playing and arranging was a major influence on Salsa trombone and brass writing in the 60s and 70s.

Mark Weinstein continued to record with Eddie Palmieri, with Cal Tjader and with Tito Puente. He toured with Herbie Mann for years, played with Maynard Ferguson, and the big bands of Joe Henderson, Clark Terry, Jones and Lewis, Lionel Hampton, Duke Pearson and Kenny Dorham. In 1967 he wrote and recorded the Afro-Cuban jazz album, Cuban Roots for the legendary salsa producer Al Santiago.

It revolutionized Latin jazz; combining authentic folkloric drum ensembles with harmonically complex extended jazz solos and arrangements. Chick Corea was on piano and the rhythm section included the finest and most knowledgeable Latin drummers: Julito Collazo, Tommy Lopez Sr. and Papaito (timbalero with La Sonora Matancera).

El único cuerno en un quinteto de jazz latino liderado por Larry Harlow en la banda de jam session del Hotel Schenks Paramount en los Catskills, solista y arreglista con Charlie Palmieri en la primera banda de salsa de trompeta y trombón en NYC, arreglista y solista junto con el gran trompetista cubano Alfredo Chocolate Armenteros en Orchestra Harlow, y con el gigante panameño Victer Paz en el Sexteto de la Playa, y con los Alegre All Stars, el hecho de que Mark tocara y arreglara fue una gran influencia en la escritura del trombón de salsa y los metales en los años 60 y 70.

Mark Weinstein continuó grabando con Eddie Palmieri, con Cal Tjader y con Tito Puente. Hizo giras con Herbie Mann durante años, tocó con Maynard Ferguson y con las grandes bandas de Joe Henderson, Clark Terry, Jones y Lewis, Lionel Hampton, Duke Pearson y Kenny Dorham. En 1967 escribió y grabó el álbum de jazz afrocubano Cuban Roots para el legendario productor de salsa Al Santiago.

Revolucionó el jazz latino, combinando auténticos conjuntos de tambores folclóricos con solos y arreglos de jazz extendido armónicamente complejos.

Chick Corea tocaba el piano y la sección rítmica incluía a los mejores y más conocedores bateristas latinos: Julito Collazo, Tommy López Sr. y Papaito (timbalero de la Sonora Matancera).

A principios de los 70 Mark se tomó un tiempo libre de la música para obtener un doctorado en filosofía con una especialización en lógica matemática.

Se convirtió en un profesor universitario y sigue siéndolo hasta el día de hoy. Cuando regresó a la escena musical en 1978 tocando la flauta, escribió produjo y grabó las Suites de los Orishas con la cantante Olympia Alfara, el gran pianista de jazz colombiano Eddy Martínez y los percusionistas Steve Berrios, Julito Collazo, Papaito y Papiro junto con un coro afrocubano. Inédito hasta hace poco, la música de las Suites de los Orishas se convirtió en el tema del Sunday Salsa Show de Roger Dawson en WRVR.

Mark Weinstein volvió al jazz con una venganza, trabajando en conciertos y grabando más de una docena de CDs desde 1997.

Seasoning, su primer CD de flauta experimentó con diferentes escenarios para la flauta, incluyendo un cuarteto con el vibrafonista Bryan Carrott y Cecil Brooks III en la batería y un trío de flauta y dos guitarras con Vic Juris y Rob Reich.

En 1998, Mark grabó Jazz World Trios con el maestro guitarrista brasileño Romero Lubambo y el premiado percusionista Cyro Baptista.

Su exploración de temas brasileños con guitarra clásica y percusión contrastaba con un trío de freebop con Santi Debriano en el bajo y Cindy Blackman en la batería.

Jean Paul Bourelly y Milton Cardone completaron el conjunto con música basada en temas de santería.

El lanzamiento de Three Deuces en 2000, emparejó a Mark con los guitarristas Vic Juris, Ed Cherry y Paul Meyers.

Mark continued to record with Eddie Palmieri, Cal Tjader and Tito Puente — With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging – Mark Weinstein

Because of limited distribution and more demand that albums available, Mark rerecorded the material from the original Cuban Roots with new arrangements and the help of such giants of Cuban music as pianist Omar Sosa, percussionists Francisco Aquabella, Lazaro Galarraga, John Santos, Jose De Leon, and Nengue Hernandez. It was co-produced with his nephew, trombonist, violinist and arranger Dan Weinstein for Michael McFadin and CuBop Records.

In 2002 Mark had the incredible opportunity to go to Kiev, Ukraine, where his father was born, to record the music of the Ukrainian composer Alexey Kharchenko. Milling Time, the record that they made, stretched his playing in a number of directions, from modern classical music to smooth jazz to Ukrainian folk music.

He continued his exploration of his roots with a jazz album of Jewish music with Mike Richmond on bass, Brad Shepik on guitar and Jamey Haddad on drums and percussion.

He then turned to Brazil and the music of Hermeto Pascoal’s Calendario do Som, entitled Tudo de Bom with guitarist and vocalist Richard Boukas, Nilson Matta on bass, Paulo Braga on drums and Vanderlei Pereira on percussion.

In 2005 he began his ongoing association with Jazzheads record recording another version of Cuban Roots called Algo Más, with Jean Paul Bourelly playing electric guitar, Santi Debriano on bass, Thelonious Monk award winning percussionist and vocalist Pedrito Martinez, as well as Nani Santiago, Gene Golden and Skip Burney on congas and batá drums.

His next release on Jazzheads was O Nosso Amor with Brazilian jazz masters Romero Lubambo, Nilson Matta and Paulo Braga along with percussionists Guilherme Franco and Jorge Silva.

In the early 1970s Mark took time off from music to pursue a doctorate in philosophy with a specialization in mathematical logic. — Mark Weinstein He became a university professor and continues to be one to this day

This was followed by Con Alma, a Latin Jazz album featuring Mark Levine on piano, Santi Debriano on bass, Pedrito Martinez playing conga and drummer Mauricio Hererra.

Next a straight-ahead album, Straight No Chaser, with guitarist Dave Stryker, bassist Ron Howard and Victor Lewis on drums. A return to Brazilian music, Lua e Sol, saw Romero Lubambo and Nilson Mata joined by award winning percussionist Cyro Baptista

Mark Weinstein took time out from Jazzheads to record an album for Otá records in Berlin with Grammy nominated pianist Omar Sosa playing vibes, marimbas and piano along with Ali Keita on balafon, Mathais Ogbukoa and Aho Luc Nicaise on African percussion, bassist Stanislou Michalou and Marque Gilmore on drums. Back to Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, joined by Roman Diaz with the young giants Axel Laugart on piano and bassist Panagiotis Andreou. This was followed by Jazz Brasil with NEH Jazzmaster Kenny Barron on piano along with Nilson Matta and drummer Marcello Pellitteri.

His most recent album, El Cumbanchero was recorded with a string ensemble and arranged by Cuban piano virtuoso Aruán Ortiz, along with Yunior Terry on bass and percussionists Mauricio Herrera and Yusnier Bustamante.

Next up is an album of tangos with GRAMMY and Latin GRAMMY nominee, bassist Pablo Aslan, and featuring Latin GRAMMY winner Raul Jaurena playing the bandoneon, pianist Abel Rongatoni and guitarist Francisco Navarro. And many more surprises to come.

Mark took time from Jazzheads to record an album for Otá records in Berlin with Grammy-nominated pianist Omar Sosa — Back at Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, along with Roman Diaz with young giants Axel Laugart on piano and bassist Panagiotis Andreou

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Salsa as a reflect of social inequality

Salsa is more than a musical genre

Salsa is only viewed as a musical genre of Latin American origin that relates to Spain in the wrong way for many people, but it is much more than this. In the same way, we can talk about salsa as a set of Caribbean rhythms and styles amongst which we can find mambo, rumba, guaracha, among others. Nowadays, both definitions are now known to encompass everything salsa means in terms of culture in the Latin world.

Well, turns out salsa went far beyond serving as a type of music to become a cultural and even political phenomenon that played a very important role at momentous points in public life in many Latin countries.

How salsa social movement began

Salsa as a social movement ans its artists — Willie Colon playing the trumpet

As soon as the Cuban Revolution was concrete, the island was gradually isolating itself from the rest of the world in many of the areas of life, especially the artsy one. This resulted in that many local artists were forced to leave their country and relocate to New York, United States. It was there that all these exponents of the aforementioned genre began to work in innovative ways and give new life to this music, thus leading to a number of changes that would transform salsa forever.

One of the most important changes was the fact that music was no longer confined to smart ball-rooms. Now it does too in the corners where you can see the misery in which a significant percentage of the population lives. At these times, the aim was not only to achieve the greatest number of attendees possible, but to achieve those who needed to feel connected to these rhythms.

That audience was composed of Latino neighborhood residents, who were desperate to find any artistic expression capable of reflecting their everyday problems. In this sense, salsa has become a powerful tool of protest against the very poor economic, political and social situation for which Latinos were going through. One of its greatest exponents has been Ruben Blades with songs such as Prohibido Olvidar, Pueblo Latino, and Tiburon. These musical themes are an open critic to governments of all ideological tendencies reneged on promises to the people.

Salsa culture and salsa as part of Latin American identity

Salsa and social inequality — A couple dancing salsa

When we analyze thoroughly the origins of salsa and the most famous artists of this genre, it is not difficult to understand why it has been so successful in the greater share of Latin America. These artistic expressions of this type are the ones that can put into words the feelings experienced by those who wish to create an identity and bring about solid political thoughts. We mention the word identity because it refers to the way we perceive ourselves and we see our traditions and the story behind us.

A large part of the story is related by salsa, which has become a popular life expression as an unambigous reflection of the typical traditions and customs of the Caribbean countries. In the same way, this genre lets us view the experiences, happiness and sadness of those who identify with its lyrics.

Salsa is a clear demonstration that arts are not always disconnected from the feelings of the majority but, on the contrary, it can be a true reflection of what people dream, think and feel from each chapter of history.

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“GOD LOVE UFO” is the new from Homero Gallardo

We present you Homero Gallardo’s new single

“GOD LOVE UFO” is what the great Ecuadorian guitarist and music producer, Homero Gallardo brings us to close the year with style. This single is produced by PC Records and distributed by Sony Music Entertainment.

The president of PC Records Hamilton Caucayo has expressed that Gallardo is The New Santana 2020. Because they consider the single as a masterpiece, and the best that Homero has done, since he was in charge of the lyrics, the music, arrangement, and production. This way the guitarist puts his touch and guitar on the current music, focusing on his projects.

“Immensely grateful to God and the entire team involved in the project! Without you it would not have been possible. I love you all very much”, Homero posted on his Instagram profile.

Homero Gallardo GOD LOVE UFO — Homero Gallardo is now presenting “GOD LOVE UFO”

MAFFIO is the multi-award winning artist and producer that Homero currently works with, to whom he entrusts all his projects, and both know how to work as a team to present the best of their talents. But he is not the only artist with whom Gallardo has worked, this great guitarist who comes from Ecuador, has managed to collaborate in many ways with artists such as: Maluma, Kymani Marley (Bob Marley’s son), Luis Miguel, Zion & Lennox, Yandel, Jencarlos Canela, NACHO, Nicky Jam, Manuel Turizo and many others. Not to mention that he has shared the stage with Marc Anthony, Puff Daddy and Jason Derulo.

A little about Homero’s trajectory

Homero Gallardo was born in Ecuador specifically in Guayaquil, from the age of 9 he showed love for music focusing on the classical genre, but three years later he was found performing professionally at festivals and activities in his hometown. His recognition as an artist was immediate, winning several contests at his school.

At just 16 years old, he managed to perform with renowned artists such as the Colombian Fonseca and the Venezuelan Jeremías. Then he decided to move to Miami in the United States to continue his studies in music, obtaining a scholarship with the Jazz Ensemble, that way Homero was in contact with Miami music scene which made him surround himself with Latin artists, and appearing with them in television, among those artists we can name: Thalia, Luis Fonsi, Chino & Nacho, and others.

In 2014, he was nominated for a Latin Grammy as a guitarist. Not only has he collaborated with many artists on stage, but he has done so much more behind the scenes as a producer and composer, as evidenced by his participation in the production and recordings for artists such as Periko and Jessi León.

With “GOD LOVE UFO” Gallardo wants to remain firm in the music scene, managing to conquer more audience simply by playing the chords of a guitar, that manages to make more than one fall in love, that is why he won the title of the New Santana.

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“Boricuas En Nueva York” the new from Marlow Rosado and Frankie Negrón

Meet Marlow Rosado, a Talented Pianist

Marlow Rosado is a versatile artist with a born talent, a pianist, arranger, writer and orchestra director. His genres are quite diverse, and they have given him a great career path within music. Among his genres we can find merengue, jazz, bachata, salsa, reggaeton, rock and cumbia. His amazing abilities have taken him to participate in some big and high profile productions. He has collaborated with renown artists such as Alejandra Guzmán, Ricardo Montaner, Elvis Crespo, Marc Anthony, Celia Cruz, Selena, Olga Tañón, El Gran Combo de Puerto Rico and Ricky Martin.

Rosado was born in Puerto Rico, but from a young age he moved to Florida. In the USA he had the opportunity to study music, and he specialized in jazz. He started to participate as a teacher in his area, while sharing his knowledge. Also, he was part of some groups as director, musician and composer.

I was formed in orchestras in which the architect was the director, the musician, not just the singer like La Fania, and so many others. I loved mine “La Riqueña” with the best musicians that I’ve met along these years. Then, I made an album my way. An album that you can make when you don’t have any kind of limitations”, he expressed.

His New Adventure is “Boricuas en Nueva York”

The artist has obtained on two occasions the coveted Latin Grammy. Now, he presents “Boricuas en Nueva York” with another Puerto Rican Frankie Negrón, and hand in hand with the record company JN Music Group.

Marlow Rosado is releasing “Boricuas en Nueva York” junto a Frankie Negrón.

Since a couple of weeks the single has been on different digital platforms, and on YouTube the numbers keep rising. It has lyrics, production, and arrangements by Marlow himself, but it doesn’t have a music video, just a flyer with the name and Rosado’s picture.

Está botao el boricua en New York (está botao), está botao el boricua en New York (el boricua de Nueva York, está botao el boricua en New York (el jibarito está botao), está botao el boricua en New York”, it’s the song’s chorus.

As it was expected, the production is full of caribbean rhythms, especially Puerto Rican salsa where it feels his pride for his country. It lasts around two minutes, and has a catchy melody. “Boricuas en New York” is the first single of Marlow’s new musical production named “Los Colores de la Salsa” which is expected shortly, because there have been some last minute adjustments.

Rosado announced the single’s release through his Instagram profile, and stated that it will be an incredible album. He also thanked Negrón participation.

Here is Boricuas en New York. Marlow Rosado and Franklin Negrón. ENJOY IT MY PEOPLE”, he posted with a lyrics video.

Rosado performs in different latin establishments in Miami city. He is known as the music’s Dalí, because the magic that he produces when playing piano, can be compared to the famous painter’s brushes. Definitely, he is a highly talented jazz pianist, and his name will continue to be heard within the industry.

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