Search Results for: Latin Music

Broadcaster and host of Con Sabor Y Amor Latino Tatiana Mezarina

We talked with announcer Tatiena Mezarina

The world of broadcasting is of utmost importance to the promotion of Latin music and today we are talking to one of its greatest exponents. We are talking about Peruvian broadcaster and host of the show ”Con Sabor Y Amor Latino” Tatiana Mezarina, who very kindly agreed to talk to us about her career and current projects.

Tatiana began by thanking us for inviting her and telling us how she became interested in the world of radio. All this enthusiasm for this interesting world of communication began since she was very little in her native Peru, at which time she worked as a school correspondent for one of the most famous newspapers in Latin America, ‘‘El Comercio”. On the radio, she began on the radio station Radio Libertad, specifically in a program show ”Viva Juventud”.

Since a very early age, Mezarina was very involved on all types of media, both print and audiovisual. Then, she had the opportunity to work in television with a show dedicated to music called ”El Mañanero”, which was in charge of broadcasting all kinds of artists and rhythms in her country.

When he started working for ”Canal Global”, he received a scholarship to study Communication Sciences in Germany and worked in German media such as Deutsche Welle and Berlin Channel. Both there and in the United States, she has had many shows linked to social causes and dedicated to informing her listeners about important issues.

Tatiana Mezarina talking to Luis Enrique

How ”Con Sabor Y Amor Latino” started

In the case of her most recent project ”Con Sabor Y Amor Latino”, Tatiana wanted to work on all these issues and give a friendly voice to help Latinos living in the United States so that they know that we are the largest ethnic minority in this country, so we should not be harassed by anyone. At the beginning, this show sought to keep the Latino community informed, but as time went by, it also wanted to offer good music. This is how Tatiana began inviting Latin artists from all over the world and of all musical genres, but she always had a special tendency to salsa because it is her favorite type of music.

In September 2019, the announcer decided to create ”Con Sabor Y Amor Latino”, a name inspired by how delicious Latin food is and how loving much of us Latinos are. This was her first project of this type since arriving in New York and arose from the need for Latinos to have a window through which they could communicate in their native language and feel comfortable to express themselves.

Music has been very important as dancing and joy are part of our identity. Music is part of our DNA and salsa has always identified with the Latino.

Is academic training important for communication?

Mezarina states that she has no problem with communicators without any training long as they do this job responsibly. However, she also argues that a person with training tends to offer a higher quality work, but this is not always the norm.

The communicator confesses that she herself took a radio and television course there in New York, which was aimed at people who had never done radio before, but wanted to learn about this profession. This is how she became interested in this branch of communication and is the one she currently works in.

”There can be all kinds of communicators, but it’s up to to everyone to decide who to follow and what to listen to,” says the announcer.

Tatiana Mezarina with Grammy-nominated Colombian percussionist Samuel Torres

Non-recommendable behaviors in communicators

When asked what behaviors which no communicator should have, Tatiana says that ”unverified information should never be disseminated. When we stand at a microphone, we have the responsibility to be careful with what we say because we reach thousands of people in a matter of seconds. If things are not done right, we confuse people and do not honor the truth.”

Future projects

As for her future projects, the communicator has said that she would never want Con Sabor Y Amor Latino to be cancelled, as she considers that much remains to be done from that platform. Unfortunately, she has been unable to dedicate 100% of her time to the radio show, but she hopes to be able to do so in the future. Similarly, he also hopes his content will be broadcast on one of the major television networks in the United States.

Meanwhile, the goal of Mezarina and her team is to keep the community informed on everything a Latino in the United States need to know to avoid inconveniences and to give publicity to artists from all genres who are unable to make their talent public through traditional radio stations and channels.

Tatiana Mezarina with commissioner of the NYC Department of Consumer and Worker Protection Lorelei Salas

Founder of the Son Latino de Orlando Orchestra Carlos Rodríguez

Who is carlos Rodríguez?

We have been fortunate to talk with founder and bongo player of the Son Latino de Orlando Orchestra, Carlos Rodríguez, who started out with him thanking us for the opportunity to talk a little about the group he leads and how has the process of reaching more and more audiences been.

Founder of Son Latino De Orlando and bongo player Carlos Rodríguez

Rodriguez started in the world of music in the 70’s in his native Puerto Rico, where he was part of a few orchestras. His first group was Imperial Orchestra and later he played percussion with Conjunto Secas in the town of Sábana Seca, but it was not long before he created the Sabrosona Orchestra. He started making vocals with Tony Vega and very small performances until he decided to retire for a while and go to Florida.

While in the United States, he realized that his love for music was still intact and decided to form another orchestra in the city of Orlando about eight years ago, which he decided to name ”Son Latino de Orlando ”. It was Carlos himself who decided to name his group that way while he was at home one day, which was when he thought of ”Son Latino” and decided to add ”de Orlando” in honor of the place where they are living and working.

In addition to being the owner and founder, he also plays the bongo, does vocals and plays minor percussion. Another role he plays in the orchestra is to carefully select the members who will become part of his orchestra, but he confesses that he has been lucky enough to have several of the same collaborators for many years, such as Davin Rojas, Rafael Rico, Luis Soriano, Danny Rojas, Chris Torres and Kevin Figueroa (music director of the orchestra and pianist). All of them have been very important in the group’s growth in recent years from their very specific roles. If there are any changes, they are made known to the fans so that they keep it in mind.

Danny Rojas, Rafael Rico, and Luis Soriano from Son Latino de Orlando

Biggest challenges

Carlos tells us that one of the biggest challenges faced by he and his guys is that those who usually hire their services do not pay what is fair for their work. Club owners are not really interested in paying for a good orchestra that offers a quality show, so they just choose the cheapest.

One of the biggest problems they have had to face is that if contractors consider that those in charge of the orchestra are asking for a very high payment, they will always choose the group that less money demands, no matter its quality is not the best.

Rodríguez makes it clear that at no point does he criticize any colleague for this, since all musicians do what is necessary to survive and excel in the industry through the work they do. However, he thinks that club owners and managers should modify the elements relied upon by them to choose their artists, since the bigger loser is always the audience.

How to balance business affairs with the love for art and music (título 3)

”You have musicians behind you and you have to meet with them. To be able to keep your orchestra, you have to go outside to look for your events and guarantee your work” was the first thing the musician said when we asked him how he balances business with the love for music. It is he himself who is in charge of knocking on the doors of the establishments, making his proposals, waiting for calls, indicating prices, signing contracts and arranging dances.

He also stated that it is very important to always lay out the terms of each contract so there are no unpleasant surprises such as last minute cancellations or misunderstandings.

How to balance original music with covers

”We always try to have a balance between romantic salsa, melodic salsa and hard salsa,” says Carlos. The orchestra has three singers who take turns on lead vocals depending on the type of salsa to be played, but there are mamy times when they are all combined in one song and adapt to the rhythms.

In all its performances, the orchestra sings both covers with different arrangements and original numbers. Depending on the place and the type of event, they always try to combine the music and build up a whole repertoire based on that specific audience preferences.

Opinion on new talent

On this topic, Rodriguez said that there are very talented new artists, but they must be allowed to grow and be original. ”Just because you have a middleweight name doesn’t mean you have to be arrogant and put aside humility. You have to be willing to listen and learn from the older guys in the business” said the artist.

For the bongo player, the speed of progress in this career makes many talented kids lose the north and get carried away by arrogance and the desire to know everything. He always tries to give advice to the kids who want to devote themselves to music with whom he has the opportunity to talk so that they can do their best.

Latin America – November 2022

Marco Bermúdez extraordinary Musician, Percussionist, Singer, Composer

On october 19, 1961 in Portoviejo, Ecuador, Marco Bermudez Brito was born. Extraordinary Musician, Percussionist, Singer, Composer.

Nobody is a prophet in his own land. At the age of 23 he traveled to the United States as a singer. And in 2004, being a member of the Spanish Harlem Orchestra (SHO), he won the Grammy in the category Best Salsa Album for the album Across 110th street.

On a day like today, October 20, Marco Bermudez was born in Portoviejo, Ecuador. He is an excellent performer, composer and studio musician in all styles of Latin music.

He was born into a family with a rich musical heritage and has resided in New York for the past thirty-four years. Marco has toured the world with Latin music greats: Tito Puente, Celia Cruz, Cheo Feliciano, Oscar D’ Leon, Tito Nieves, Domingo Quiñones, Jose Alberto and all the artists on the RMM Records label.

Marco’s discography includes: RMM All Stars 10th Anniversary CD/DVD Live at the Continental Arena New Jersey; Recorded a Selena (RMM) and Tropical Tribute to the Beatles CD/DVD recorded live at Radio City Music Hall in New York.

Marco is currently one of the singers of the Spanish Harlem Orchestra. As a performer and composer, Bermudez has collaborated in the record productions of the SHO, writing the lyrics of the songs Son de Corazón, Regalo de Dios, Qué Bonito, La Fiesta began.

(One more year of life for this Ecuadorian performer, composer and musician who has performed in different variations of Latin music.

Experiences with Isidro Infante y La Élite, Conjunto Clásico, Tito Puente, Celia Cruz, Cheo Feliciano, Oscar D’León, Tito Nieves, Domingo Quiñones, José Alberto “El canario”, and Ralph Mercado’s RMM Records family in which he participated in productions such as “RMM All Stars 10th Anniversary – Live in Continental Arena of New Jersey”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, and “Recorded a Selena”; the album “Recorded a Selena” (RMM) and “Tropical Tribute to the Beatles”, a CD/DVD recorded live at Radio City Music Hall in New York.

The pinnacle of his career came when he became part of the Spanish Harlem Orchestra’s line-up of singers, collaborating in different record productions and strengthening his facet as a composer through titles such as “Son de corazón”, “Qué bonito”, “Regalo de Dios” and “La fiesta empezó”.

He has also been part of The Mambo Legends project sharing microphones with Frankie Vázquez and Jorge Maldonado.His story is told to us when he was in Ecuador on vacation with his wife.

“From a very young age, I was always surrounded by music,” she says proudly. He refers to his parents, siblings and most of all to his uncle, the great singer Eduardo Brito.

Marco, at the age of 9, together with his brother Eduardo formed the duo Hermanos Bermúdez Brito, being the first to record the pasillo Romance de la tejedora manabita, lyrics by Paco del Casty and music by Filemón Macías, Marco’s uncle: “Con horma de esperanzas/y encajes de clavellina/ va tejiendo su sombrero/ la manabita más linda” (With a last of hopes/and lace of carnation/ she weaves her hat/ the prettiest manabita).

In the early eighties, brothers Mariano and Venancio Larrea invited him to join the Marfil group, from Guayaquil. That was when the group turned to salsa music, which was just becoming popular in these parts.

But his life and stage changed in 1984, when he and his brother joined the Manabita orchestra Los Profetas, which would perform in Los Angeles, Miami and Chicago.

With the illusion of succeeding in the north, Bermúdez stayed and formed El Combo de Nueva York, which was the staff orchestra of a chain of nightclubs in Queens.

At that time, Marco was concerned about his musical training, besides being a singer and composer, he was also a percussionist. His entry into the big leagues of salsa came when he was part of La Élite, led by maestro Isidro Infante, for 6 years.

There he achieved fame as the interpreter of the songs Santo, Militar and Montuno and for the album Tributo Tropical a Los Beatles.

He was also part of La Charanga de Johnny Almendra and Los Jóvenes del Barrio, and was one of the singers of the legendary Conjunto Clásico orchestra. “Even when there is a tour they call me because I know the repertoire and I know the routine”.

At the beginning of 2003 he made a great leap when he joined the SHO, an orchestra that besides winning the Grammy and achieving nominations for two of its albums, is considered “the best salsa orchestra in the world”, according to the Puerto Rican critic Jaime Torres Torres, who in referring to Bermúdez affirms: “He is the only recognized Ecuadorian salsa singer who dominates the difficult art of soneo and clave”.

About the renowned SHO, Bermúdez says that in reality this orchestra “is the sound of the Harlem neighborhood, where urban salsa was born.

We are inspired by masters like Tito Puente and Mario Bauza, who left us that legacy”. And although every salsa singer is mistakenly called a sonero, very few are.

The soneo is an improvisation by the singer when the percussionist solos on the drums, he explains.

The next SHO album will feature three songs by Bermúdez: Son de corazón, Regalo de Dios and La fiesta empezó. “I like to write everything, romantic, jocular, nature and rumba songs,” says Marco who is currently selecting songs for his solo album which he hopes will be released this year. It will include a recording with Las Leyendas del Mambo, Tito Puente’s legendary orchestra.

These are his plans. His dream: “to come to Ecuador as a soloist or with SHO because I have had recognition abroad, but it must be nice to be recognized in your country”. Although they say that no one is a prophet in his own land, Bermúdez, the sonero, will surely be.

At the age of 9, together with his brother Eduardo, he formed the duo Hermanos Bermúdez Brito, being the first to record the pasillo Romance de la tejedora manabita.

In the early eighties, the brothers Mariano and Venancio Larrea invited him to join the Marfil group, from Guayaquil.

In 1984, together with his brother, he joined the Manabita orchestra Los Profetas, which would perform in the United States. He stayed in New York and formed El Combo de Nueva York, which was the staff orchestra of a chain of nightclubs in Queens.

Later he was part of La Élite, led by maestro Isidro Infante, for 6 years.

He was also part of La Charanga de Johnny Almendra and Los Jóvenes del Barrio, and was one of the singers of the Conjunto Clásico orchestra.

At the beginning of 2003 he joined the “Spanish Harlem Orquestra” of Maestro Oscar Hernandez. He has collaborated, among others, with the band of “Mister Moña” Jimmy Bosch and “La Mambo Legends.

You can read: Héctor “Bomberito” Zarzuela Calidad y Tuning en la Maquinaria Fania All-Star

Marco Bermudez

José Fajardo was a virtuoso flutist, composer, orchestra conductor and music producer

José Antonio Fajardo, in the month of November we refer to one of the greatest musicians that the island of Cuba has given in the last century; we are talking about maestro José Antonio Fajardo Ramos: flutist, composer, orchestra conductor and music producer; one of the great promoters of Cuban music represented in the rhythms of bolero, son, guaracha, mambo, chachachá and pachanga.

José Fajardo was born in Guane, province of Pinar del Río in 1919. He began his musical career as a maraquero in his father Alberto Fajardo’s orchestra, later he took up the flute.

From the age of 16 he was part of several groups such as: Joseíto Fernández, Paulina Álvarez, Melodías del 40, La Romance de René Álvarez, the orchestra of maestro Antonio María Romeu, the orchestra of pianist Luis González Valdés: “Neno” González and the orchestra of Antonio Arcaño, known as Arcaño y sus Maravillas.

After his time in these famous groups, in 1949, Fajardo created his own orchestra called Fajardo y sus Estrellas, with musicians such as: Orlando “Cachaito López”, René Fernández on piano, violinists Ignacio Berroa and Félix Reyna, who was also the composer; percussionist Jesús Esquijarrosa on timbales; Carlos Real on tumbadora and Rolando Valdés on güiro; in the vocal part he initially integrated Joseito Valdés.

In the early fifties, with the boom of chachachá in 1951, things improved a lot and the charangas orchestras began to perform in the best cabarets, aristocratic salons and private parties of high society, such as the Montmatre and Tropicana cabarets.

Fajardo became internationally known in the mid 50’s at the head of his orchestra, Fajardo y sus Estrellas, he was the first charanguero to introduce the cymbals to the timbal and the pioneer in the incorporation of the cowbell and the bongo to the charanga, his group was one of the sensations of the golden age of chachacha and pachanga.

After going into exile in the 1960s, he toured Asia, Africa, Europe and Latin America, popularizing an eminently Cuban repertoire.

Maestro José Fajardo has been one of the only musicians who have stood out in different periods of Latin music; initially in Cuba, in the 50’s with the arrival of Chachachá, later in the era of Pachanga and Boogaloo, in the sixties in the United States, and he also came to prominence in the golden era of salsa in the seventies and eighties of the last century.

In the seventies, eighties and later, the flute master recorded with Joe Quijano & His Conjunto Cachana, Tico-Alegre All Stars; Ray Barretto and Adalberto Santiago; Johnny Pacheco, Pupi, Javier Y Su Charanga; Jimmy Sabater, Orlando Contreras, Alfredo Valdés Jr, Fania All Stars, Louie Ramirez, Graciela and Mario Bauza, Israel “Cachao” Lopez, with our great Joe Arroyo in the nineties and with Hector Casanova, Mario Muñoz, Andy Gonzalez, Eddie Montalvo, Manny Oquendo, Alfredo “Chocolate” Armenteros, Carlos “Patato” Valdes, Alfredo Rodriguez and Francisco Aguabella.

After a brilliant musical career spanning more than six decades, Maestro José Antonio Fajardo passed away in New York City on December 11, 2001, leaving an enormous legacy to our culture.

José Fajardo fue un virtuoso flautista, compositor, director de orquesta y productor musical

The great musical contribution of this portentous son of Pinar del Rio, has highlighted him as the highest flute of Cuba and Latin America, a true ambassador of Cuban music and salsa in the world; from our beautiful page ‘Los Mejores Salseros del Mundo’ we want to highlight the enormous artistic career of maestro José Antonio Fajardo Ramos as a tribute to his wonderful musical work.

José Antonio Fajardo, uno de los más grandes músicos que ha dado la isla de Cuba

José Fajardo Jr.

You can read: Ángel Bonne He was part of Juan Formell’s Los Van Van Orchestra, and collaborated with the impressive Irakere band of maestro Chucho Valdés