Search Results for: Latin Music

Let’s meet the Pharaoh of Salsa, who is he? Oscar D ‘Leon .

Biography of Oscar D ‘Leon

Óscar Emilio León Simosa, was born in the populous Antimano parish in Caracas -Venezuela, on July 11, 1943, known in the artistic world Óscar d ‘León, son of Carmen Dionisia Simoza and Florentino Padrón. However, he did not recognize him at the time of birth, so the marriage of Carmen Simoza and Justo León decided to take care of the child.

From an early age, little Oscar enjoyed the popular parties that were held in Antímano and listened to the music of great orchestras such as La Sonora Matancera, the Billo’s Caracas Boys Orchestra, the Matamoros Trio, and two of his greatest musical inspirations, Celia Cruz. and Benny Moré.

He began his musical career relatively late, at 28 years of age, after having carried out two jobs totally unrelated to music, such as taxi driver and mechanic; He was educated academically as a surveyor, but never practiced that profession.

Oscar learned to play bass empirically, his innate talent for music was so extraordinary that it allowed him to earn a position in one of the orchestras that played in a renowned nightclub in the city of Caracas. There Oscar also did the choirs, but he did not interpret any song as a soloist.

His life changed when the lead singer of the orchestra was absent from one of the presentations and Oscar proposed to fill that vacancy and he did it in a great way, so much so that he received the approval of all those present.

In 1972, the owner of “La Distinción” told him that he would dispense with his services, since he would require an orchestra of higher quality and experience. Oscar offered his group to the owner of the premises, although he did not have it. It was here that D ’León went, together with the trombonist César Monges, from door to door looking for some musicians with whom he considered he could put together a group with which the venue could get out of trouble. It is there where they meet the percussionists Elio Pacheco and José Rodríguez, the trombonist José Antonio Rojas (Rojita) and the pianist Enrique “Culebra” Iriarte (who would later be replaced by Jesús Narváez). At this moment the project to create the Latin Dimension is accelerating.

They premiered on March 15, 1972, in a rehearsal at the home of “Culebra” Iriarte in La Guaira and debuted in “La Distinción”. In that same 1972 the orchestra recorded their first full-length album and obtained their first hit, the song “Pensando en ti”. This first success led them to be hired to participate in the Maracaibo carnival festivities. We must emphasize that Víctor Mendoza was the one who suggested using his stage name as “Oscar D´León”. There were many songs that Oscar hit with the Latin Dimension, “Llorarás”, “Taboga”, “El Frutero”, “Mi Tierra”, among many more.

In 1976, at the highest point of popularity, Oscar D’León confronted differences with the rest of the members of the group, for which he separated from the Latin Dimension and formed his own orchestra; “La Salsa Mayor” recording his first LP titled “Con Bajo y Todo”.

After some legal problems that momentarily led him to remain briefly detained and deprived of liberty and to be questioned in the media, he decided to change his image and presence, dispensing with the qualifier “El Diablo de la salsa” that had been given to him in Panama.

In 1986 he relapsed into acting, this time in the Venezuelan film “Hell is sure.” Later, he began his international leap, taking his music to countries such as Japan and to stages such as Madison Square Garden in New York, the Poliedro de Caracas and the Teresa Carreño Theater. At this stage, he alternates and records with those who had been his youth idols: Celia Cruz, Eddie Palmieri and Tito Puente.

He also presented himself as the companion for singers of the new salsa generation who was part, like him, of the label belonging to Ralph Mercado “RMM”: La India with whom he would record the song “Hazme el amor” or José Alberto “El Canario” with who would record “The flavor arrived.”

Oscar D' Leon Photo — Oscar D ‘Leon smiling for the photo

Oscar D´León has received numerous awards and honors. In 1996, with the album “Sonero del Mundo” in collaboration with the Cuban musician Willy Chirino makes him obtain the nomination for the Grammy.

On March 15, 1998, the city of New York honored him by naming that date as Oscar D’León Day.

On December 20, 2009, he was admitted to the Intensive Care Unit of a Caracas clinic after suffering a heart attack in Martinique, from which he recovered after undergoing catheterization.

On November 21, 2013 he received the Latin Grammy Award for Excellence for his musical career, thus recognizing the impact of his performance in the world, also that same year he would receive the Grammy Award.

Today, Oscar continues to delight us with his wonderful musical talent …

Anacaona Areito de Anacaona ‘Golden Flower’

Anacaona was the last princess of the Caribbean and protector of the Taino people.

“Anacaona, areito de Anacaona”, sang Cheo Feliciano before a heated crowd at the Cheetah club in New York late on 26 August 26, 1971.

It has been more than 50 years have passed and the chorus from the pen of Tite Curet Alonso resounds as if it were yesterday. But who was Anacaona?

Anacaona or Anakaona. (1474-1503)1 was an aboriginal Taino chieftain of Bohío Island. She governed the Cacicazgo of Jaragua after the death of her brother Bohechío. She was condemned to be hanged by Governor Nicolás de Ovando.

Anacaona means ‘Golden Flower’ in the Taino language. She was a Haitian princess of Taino origin who was born in the year 1474 at Bohío, as it was dubbed by its inhabitants and then divided into two Caribbean countries: the Dominican Republic and Haiti.

Anacaona was the last princess of the Caribbean and protector of the Taino people. — Anacaona Areito de Anacaona

After the death of her brother Bohechío, Anacaona would take over as cacique to rule the Chiefdom of Jaragua. She had a natural talent for poems, which she sang in the areitos, dances, and songs with which the Taino Indians celebrated their festivities and religious rites.

Anacaona received Christopher Columbus on his first voyage at Christmas 1492. She felt admiration for the new knowledge and skills of these people to solve day-to-day challenges.

Those led by Columbus established a settlement in the new territory, which they called Christmas Town. It is said that this was the first building of the Spaniards in America.

But harmony would not last for long. The abuse on the natives began, especially women who were mistreated and raped without hesitation.

Anacaona would not accept the oppressive tyranny and persuaded Caonabo, her husband, to destroy the settlement where the invaders were based.

Anacaona in the Taino language means 'Golden Flower'. She was a Haitian princess of Taino race who was born in the year 1474 on Bohío Island, as its first inhabitants baptized it and which would later be divided into two Caribbean countries: the Dominican Republic and Haiti. — Anacaona was the last princess of the Caribbean and protector of the Taino people.

Christopher Columbus left the territory and, upon return in November 1493, he found Christmas Town destroyed and its more than 43 men killed. It was an affront. Anacaona escaped and became an Indian of a captive race, as the song goes. But her freedom would not last long. After an intense search, she was captured and bound to hang in 1504.

The Tite Curet Alonso’s ‘Anacaona’

Tite Curet Alonso composed ‘Anacaona’ without knowing who she was. The song written from one day to the next would be included in the album “Cheo” (1971) of Vaya Records. The label sought to re-launch Feliciano’s musical career, who had stayed away from the stage as a result of the rehabilitation for his drug addiction.

In an interview posted on Youtube, Tite says that he was inspired by a Lecuona Cuban Boys orchestra’s song (recorded in the 1930s) and baptized it with that name in honor of the Cuban girl group Anacaona.

After the death of her brother Bohechío, Anacaona took over as caciqueca, governing the Cacicazgo de Jaragua. She had a natural talent for poetry, which she sang in the areitos, dances and songs with which the Taino Indians celebrated their festivities and religious rites. — Anacaona or Anakaona. (1474-1503) was an aboriginal Taino chieftain of Bohío Island.

He says he tried to “make up a mystical story” about Spanish and Indian slaves. When composing, Curet did not know he was telling the true story of the Haitian princess who fought against the Spaniards in the early years of the discovery of America.

After the release of the album was released, which was well received by the public, Curet visited a priestess who knew the life of Anacaona and had heard the song in the voice of Cheo Feliciano. After knowing the story, Tite was greatly impressed.

The woman informed the composer that it was the Taíno ancestors who inspired his pen in each verse.

“But how is it possible that you wrote that song? Now you have to make a song for Caonabo and I will tell you why: because from a certain generation upwards, you are a descendant of Caonabo and Anacaona”, said the priestess.

It did not take long for Tire Curet to publish his tribute to ‘Caonabo’, the Indian fighter who, like his wife Anacaona, fought against Spanish oppression. The song was included in his production as a singer-songwriter entitled “Aquí estoy con un poco de algo” (1975).

The Cheetah concert on August 26, 1971, gave rise to the salsa boom and allowed several young talents to make history. Moreover, it opened the way for composers like Tire Curet Alonso, who with songs like ‘Anacaona’, created the soundtrack of Latin American soul.

Images courtesy of Museo Taino Anacaona

https://www.museoanacaona.com/

Dominican Republic

Hector “Bomberito” Zarzuela Quality and Tuning in the Fania All-Star Machinery

Hector “Bomberito” Zarzuela, Instrumentalist, excellent sound, tuning and world-class reader.

Héctor Zarzuela, known in the entertainment world as ‘Bomberito’, passed away last Thursday, January 7 at the age of 84 in New Jersey, USA.

Born June 3 in the city of Moca, Dominican Republic, where he began his musical studies, played with several local groups and then moved to the capital city in which he played with

different orchestras. Then in the early 60’s, he decided to emigrate to New York City.

Shortly after arriving in New York, he entered the world of salsa and began working with local orchestras, and later with those that made up the famous Fania All-Star in which he remained for many years.

Hector "Bomberito" Zarzuela Instrumentalist, excellent sound, tuning and world-class reader. — Hector “Bomberito” Zarzuela Quality and Tuning in the Fania All Stars Machine

The former member of the band Estrellas de la Fania, was one of the most important personalities of salsa thanks to his great talent and participation with renowned groups and artists of the salsa world, among them the Fania All-Stars (1971-1976 / 1979-1988 / 1994), Cheo Feliciano (1973 / 1977 / 1993), Ismael Rivera y sus Cachimbos (1975-1978), Héctor Lavoe (1975 / 1981) and Ray Barretto (1979 / 1987-1990).

He worked with fellow trumpeter Luis “Perico” Ortiz for many years, being an extraordinary quality and tuning session and responsible for innumerable hits of different singers.

The name Hector Zarzuela earned a lot of respect for his beautiful songs as an instrumentalist, excellent sound, tuning and world-class reader.

His list of artists with whom he recorded is enormous, here are some of them: Pete Conde, Johnny Pacheco, Héctor Lavoe, El Canario, Ismael Miranda, Ismael Rivera, Tony Vega, Celia Cruz, Grupo Niche, Victor Manuel, among others.

Traveling the world with all these artists, from Latin America to Africa, Japan, Australia, leaving legions of admirers in his wake and a great example to follow. — In 1980, he recorded with an orchestra formed by him, a production entitled “Merengues con Caché”. At that time, he was also with the group “Africando”.

In 1980, he recorded a production entitled “Merengues con Caché” with an orchestra which he has created. Around this time, he was also in the group “Africando“.

He traveled from Latin America to Africa, Japan, and Australia with all these artists, collected legions of fans, and set a great example to follow.

He also dabbled with some merengue groups, especially The New York Band, La Gran Manzana, etc. His career in merengue groups is not extensive, after all he has lived in New York City for many years, making him a living example of Constancy and Determination.

Lovingly called Bomberito, we know nothing about the reasons for this nickname, but he is highly known this way.

Zarzuela was a well-mannered, quiet temperament, respecful person when relating with others, and very responsible person in carrying out his work.

Man with a noteworthy trajectory in growing quality and respect by becoming one of the great figures abroad of our musicians.

Héctor Zarzuela deserves a predominant role in the pages of our history.

He was one of the greatest trumpeters of all time, always being the first trumpet in the ensembles.

He belongs to the highest elite group of musicians of the same instrument. The maestros Luis “Perico” Ortiz, Elias Lopes, Kito Velez, Orlando Pabellon, Rafael Labasta, Alfredo “Chocolate” Armenteros, Puchi Bulong and other great figures that make up the trumpet legends of the trumpet in salsa.

Trumpet

The trumpet is a wind instrument, which belongs to the family of brass instruments and is made of metal alloy.

The sound is produced by the vibration of lips on the part called mouthpiece from the air column (air flow).

Commonly, it is usually tuned in 9′ B ♭, that is to say, one tone below the tuning written on the staff, although there are also trumpets tuned in F, C, A and E, – flat-.

The musician who plays the trumpet is known as trumpet player or trumpeter.

Mechanism

The trumpet is made of brass tube doubled in a spiral of about 180 cm long, has several valves or pistons, and ends with a bellmouth weir, which receives the name of bell or pavilion.

The first two thirds of the tube are practically cylindrical, which gives it a loud and bright sound, whereas the cornet and the flugelhorn, which have a conical tube and produce a softer tone.

The remaining third is a conical tube, except in the last 30 cm, where the tube is widened to form the bellmouth weir.

The caliber is a complex series of turns that besome smaller in the mouthpiece receiver and larger just before the start of the bell. Careful design of these turns is critical to the intonation of the trumpet.

Hector "Bomberito" Zarzuela Instrumentalist, excellent sound, tuning and first class reader. — Hector “Bomberito” Zarzuela Quality and Tuning in the Fania All Stars Machine

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Bella Martinez, the irreverent Salsa writer

Life is fun. Dare to live it

Bella Martínez was born in Puerto Rico. She is a graduate of Natural Sciences from the University of Puerto Rico, Río Piedras Campus. She lived in the state of North Dakota as a member of the United States Air Force. She completed her master’s in Health Services Administration and Quantitative Methods at Central Michigan University, Mount Pleasant, Michigan.

In 2016 she published Schizophrenic: Imaginary Episodes from a Different Life. In 2020 she wrote Insurrecta: Schizophrenic Chronicles of an Indomitable Life from Ediciones Scriba NYC. She maintains contact with her followers through the blog Life is beautiful, dare to live it. Her mission is to inspire Spanish-speaking people around the world to live life to the fullest.

Her writings have been published in several international literary anthologies, including: Divina, la mujer en twenty voices by Ediciones Scriba NYC -awarded at the International Latino Book Awards 2019, in Los Angeles, California- and in various editions of the poetry book Siglema 575, of minimalist poetry, Ediciones Scriba NYC. If you want to know more about Bella, you can do so by visiting Bellamartinezescribe.com or through her pages on Instagram, Facebook, Twitter, YouTube and Pinterest.

Bella Martinez led a pretty fun life — Bella Martinez, the irreverent Salsa writer

Bella Martinez I lead a pretty funny, sometimes complicated life; although I try every day to simplify it. I’ve even thought that one day I could be a minimalist…. Sure, in my own way; like everything else. I almost forgot to mention that I’m a vegan and a salsa dancer who dances until she collapses.

I should add that I love music that allows me to dance and express what is otherwise impossible to write or draw. In short; I dance salsa, I cook, I write and I dare to face whatever life brings me.

My mission is to inspire Spanish-speaking people around the world to dare to live a unique life because as I titled my blog: “La vida es bella…. Dare to live it”; I believe that life is to be lived the way you want it to be lived, doing good without looking out for others. I invite you to take a look at my blog .

I post about dance, music, beauty, fashion, vegan cooking, literature and everything else I can think of. Well, at least that’s the intention.

As for my narrative; and according to my great friend of always, Dr. Lopez Feliciano: “Through humor, and the narrative of the transgenerational transmission of the tribe, core values such as freedom, truth, integrity and fidelity are exposed.

The schizophrenic chronicles unveil an imaginary world in which cats, heifers, lice, mice are personified; and shoes, brooms, cars, keys and paper dolls are animated. The approach to reality is fantastic spun with ideas of references that are only experienced by an untamed life.”

And I say, “I expose in my memoirs through wacky stories and mocking the harsh daily reality of an ordinary routine; visiting stamps of my memories and nostalgically longing for the peasant activities of my ancestors whom I remember daily. You can’t help but fall in love with my picturesque narrative…”

The memories of Jimmie Morales comes to us from the pen of Puerto Rican writer Bella Martínez. In this new proposal by Martinez, she herself reported that: “it details the memoirs of the conga player who made his way into the world of salsa to become one of the most influential percussionists in the genre he has dedicated his life.”

From the pen of Puerto Rican writer Bella Martínez comes: A Conguero for History, The Memoirs of Jimmie Morales. — Bella Martinez, the irreverent Salsa writer
Life is fun. Dare to live it

The official launch of this daring text in which the author stresses the importance of our music and the influence that Puerto Rican performers have had throughout the history of salsa beyond our shores was on Thursday 19 November 19 2020.

This launch coincided with Puerto Rican’s Day. The list of contributors Bella counted on during drafting included the maestro Willie Rosario, who wrote the prologue, and the most prolific soloist of commercial salsa: Gilberto Santa Rosa, who wrote the introduction and the back-cover text. The virtual presentation of Un conguero para la historia was sponsored and streamed through the Instituto de Cultura Puertorriqueña.

The text is available in paper form through the following links:

Amazon.com – Global:

Un conguero para la historia: Las memorias de Jimmie Morales (Paperback).

Walmart.com:

Un conguero para la historia, Las memorias de Jimmie Morales (Hardcover).

The book is also available at: – Fundación Nacional para la Cultura Popular, Old San Juan – Puerto Rico.

– El Candil Library, Ponce – Puerto Rico

– Laberinto Library, Old San Juan – Puerto Rico

– Pure Sound, Bayamón – Puerto Rico

– RZayas Music, Juana Días – Puerto Rico

– The Bookmark, San Patricio Plaza – Puerto Rico

In the following text, fro-Antillean music researcher and Colombian journalist Robert Téllez Moreno, who is a biographer of Ray Barretto and Willie Rosario, summarizes what the reader will find in the memoirs that the conga player Jimmie Morales shares with his followers through the voice of Bella Martínez:

Percussionist Jimmie Morales was born in Bridgeport, Connecticut. The son of Puerto Rican parents and owner of a natural talent, he developed an interest in music when as a child he listened to groups such as The Beatles and The Rolling Stones.

As from 1967, Jimmie and his family settled in Puerto Rico, from where his connection with Afro-Caribbean music emerged, after having listened to various Cuban, Puerto Rican and New York conga players such as Ray Barretto, Patato Valdez, Candido Camero, Mongo Santamaria, Johnny ‘Dandy’ Rodriguez, Milton Cardona and Eddie Montalvo, among others.

His first approach to the instrument occurred when his neighbor, Rubén Beltrán allowed him to play congas at his home. Later, he joined the youth group ‘La Justicia’ , with which he began to work permanently, while having his own instrument given away by his father.

After three years of work with ‘La Justicia’, Jimmie Morales joined Beto Tirado’s ‘La Predilecta’, in which he remained until he joined Tito Allen’s orchestra to work as a conga player until 1978, when he received an invitation from the maestro Willie Rosario, ‘Míster Afinque’, to join his orchestra in place of Papo Pepín.

According to Jimmie Morales, during those eight consecutive years, he lived his most formative stage, and what he considers his “formal training in the music industry”. This happened when he was a member of Willie Rosario’s orchestra, which was one of the greatest institutions of the salsa movement.

With Willie Rosario’s orchestra Jimmie Morales participated in the productions: ‘El Rey del ritmo’, ‘El de a 20 de Willie’, ‘The Portrait of a Salsa Man’, ‘Atízame el fogón’, ‘The Salsa Machine’, ‘Nuevos Horizontes’, ‘Afincando’ and ‘Nueva Cosecha’.

In 1986, Jimmie Morales joined Gilberto Santa Rosa’s nascent orchestra ‘El Caballero de la Salsa’, participating in multiple recordings and traveling the world.

At the same time, Morales began an impressive career as a top-level studio musician. He received credit for hundreds of recordings of such artists as: Lalo Rodríguez, Oscar León, Paquito Guzmán, Eddie Santiago, David Pabón, Héctor Tricoche, Edgard Joel, Marvin Santiago, Tito Rojas, Rey Ruiz, Ismael Miranda and Frankie Ruiz, the latter, with this latter he participated in all his solo albums.

As an accompanying musician, Jimmie Morales has appeared as an accompanying musician on hundred of recordings of great figures such as: Willie Colón, Ismael Miranda, Juan Luis Guerra, Tito Nieves and Jerry Rivera, among many others.

In 2010, as a leader of his own proyect, Jimmie Morales released ‘El Tumbao’ with the songs “Píntate Los Labios María” popularized by Cuban guitarist of the Buena Vista Social Club Elíades Ochoa and arranged Louis Cruz, who was Ray Barretto’s pianist in the 70s. The recording also includs “The Continental”, a jazz standard, arranged by seasoned José Madera, who was percussionist and arranger for Tito Puente’s orchestra for more than 30 years.

Recently, Jimmie Morales has contributed with his talent to the recordings: ’40… y contando en vivo desde Puerto Rico’ by Gilberto Santa Rosa, an album that captures one of the most emotional nights of the recent tour of the ‘Caballero de la Salsa’ and ‘Opus’, the eighth album by singer Marc Anthony, and recorded at Art House Society and Criteria Studios in Miami under the direction of multi-Grammy Award winning pianist and producer Sergio George.

Jimmie Morales, continues his commitment to music, from the area of pedagogy, sharing his experience and knowledge through workshops and clinics provided to young people from different countries, who have a genuine interest in music.

Bella Martínez: Amazon

Bella Martinez, the irreverent Salsa writer

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Son Divas with new energy

The orchestra formed by Puerto Rican women will back to work and will release its first album in the coming months.

Son Divas is here to stay. This was stated by Aníbal de Gracia, manager, producer, and creative director of the girl group. After a short recess caused by the pandemic, Son Divas has just released the single ‘Mujer de acero’, which will be part of the first album they are working on and is scheduled to be released between March and summer.

“During this time in which many projects had been delayed as a result of the pandemic, many people told me that Son Divas should record an album. After thinking and appraising how much the group had made progress since its beginnings, I thought that it was the right time for that first recording.

We have already recorded some songs and others are in the process and we hope to release it between March and summer, but observing what happens with the matter of the pandemic,” said de Gracia, manager and producer of Son Divas.

They are Divas from Puerto Rico and they come with a lot of energy. — Son Divas of Puerto Rico

The musician/orchestra director also noted that more than 100 female musicians, among other guests, will participate in the record production.

“We decided that we were supposed to invite the largest possible number of women, not only of Puerto Rico, but of the entire world. We want to finish recording the album, be able to release it into the marketplace and, and look forward to the moment when we can play it live,” he said.

Son Divas is recording a song in conjunction with the Cuban orchestra Anacaona, the first women’s orchestra in the world. The Cuban group was founded by the Castro sisters in the 1930s. According to de Gracia, Dominican musician Wilfrido Vargas had contact with the Anacaona orchestra during the 70s, and in this way, developed the concept of Las Chicas del Can.

Ya hemos grabaWe have already recorded some songs and others are in process and we hope to release it between the month of March and the summer, of course, observing what happens with the pandemic issue," said de Gracia, manager and producer of Son Divas. — Son Divas records a song in conjunction with the Anacaona Orchestra from Cuba

“Although the album will have a romantic theme, it will be varied. Songs to dance salsa, merengue, and even a Latin jazz track can be found here. It will have a combination of new songs with some covers. ‘Eclipse total del amor’, a salsa version of a song popularized by Lissette Alvarez;

‘Mala novia’, ‘Una loca como yo’ and ‘Mujer de acero’, a song we already released in promotion. These are some of the tracks of the album”.

De Gracia began training the girls from Son Divas in 2017 after participating in a music festival in St. Kitts where he shared the stage with the Anacaona orchestra the previous year. After being impressed by these Cuban girls he decided to start a similar project in Puerto Rico.

“After recruiting girls, getting a whole lot of rehearsal, and overcoming the drawbacks of Hurricane Maria, we recorded the first single ‘Mala novia’, a song by Mel Martinez and arrangement by Ramon Sanchez. We managed to be played on the radio and it opened a lot of doors.

After that, we had to deal with the pandemic issue and the musical activity had stopped. — Son Divas, Nico Camilo, Gilberto Santa Rosa, Anibal De Gracia, Luz Mary Parra, Victor Manuelle and Lilly Aponte

We made several performances in Puerto Rico and went to St. Kitts. We recorded a second single titled ‘Una loca como yo’ in collaboration with Gilberto Santa Rosa and Victor Manuelle on backing vocals.

After that, we had to deal with the pandemic and musical activity had been stopped. Now, we are back to work again. We are working on the album that is sure people will like very much because it is being done with passion, love, and very good musical quality”, de Gracia said.

Son Divas is led by Nicole Yomara Santiago (musical director and trumpeter); it features singers Nico Camilo, Luz Mary Parra and Lilly Aponte. Zuleyka Martínez (saxophone), Nicole Vargas (trumpet), Ileana González (trumpet), Irem Díaz (bass), veteran virtuous Amuni Nacer (piano), Dali Marie (conga and bongo) and Daizalee M. Félix (timbal). The latter two appeared on the album.

The orchestra made up of Puerto Rican women — Son Divas with new energy

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