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Where to dance Salsa in London?

Europe/ England/ London

Where to dance Salsa in London?

We present you 5 options to go dance Salsa in London

Every place just promise delicious cocktails and a hearty food menu, also features salsa classes, cocktail masterclasses and fun-time Latin party vibes. In London there are all kinds of events and parties, and Latin music is not far behind. So you will find numerous options to enjoy a night of salsa in the English capital.

1.- Caramelo Latin Dance:

It’s a dance school with Salsa On1 and On2 classes, plus they have the option of doing an intensive salsa in one day, so if you go with your salsa friends to London, this is your chance to learn the basics, and leave to dance with them.

From time to time the school organizes an event for social dancing.

Address: Paddington Academy, 50 Marylands Rd, London W9 2DR.

Metro: Warwick Avenue

Call them: +44 7572 891570

2.- Hammersmith Salsa & Bachata Club:

6 levels of Bachata and Salsa classes followed by loads of social dancing. Absolute beginners always warmly welcomed. Make new friends, get fit, have fun and dance your night away. Every week DJ Incognito regularly play the latest Salsa, Bachata, Cha Cha and Latin music. Fun and friendly staff.

Address: 11 Rutland Grove, Hammersmith, London W6 9DH.

Call them: +44 7831 715368

3.- Salsa! Soho:

Partying is what they do, and they do it well! Party with them and you will get a big injection of Latin party vibe to your celebration!

They have menus to suit all occasions. Salsa classes every night of the week, amazing drinks menu with over 50 cocktails and of course non- stop latin music. Enquire about booking and plan your party.

Address: 96 Charing Cross Rd, London WC2H 0JG

Call them: +44 20 7379 3277

4.- Wimbledon Salsa and Bachata Club and Classes:

Fun & friendly classes for dancers of all levels. Plenty of high quality social dancing to the best and latest Salsa, Bachata, Cha Cha and Latin grooves. Absolute beginners warmly welcomed. High quality lessons from Beginners to Advanced. No prior bookings needed, just turn up and dance.

Address: 44 St George’s Rd, Wimbledon, London SW19 4ED

Call them: +44 7831 715368

5.- Revolucion de Cuba:

Rum Bar & Cantina. Unique, expertly made cocktails and Latin-inspired food, with amazing music and live entertainment. Feel-good Cuban vibes all year round! This is not only one bar.

It’s the story of a team of rum lovers, who knew that taking on this spirit meant capturing it. And that doing so would lead to a discovery of food, drink, dance and the culture that makes up one of the world’s most exciting and intriguing places: The island of Cuba.

Address: More of 15 locations in England, you can choose anyone!

Call them: +44 1423 226133

We hope this alternatives help you enjoy a great party. Tell us how do you spend the night dancing London.

Soneros Birthdays Party

Omara Portuondo, Ismael Rivera, Jimmy Bosch, and Luisito Carrión celebrate their birthdays this month

October is filled with talent and it’s that in this month a hurricane of brilliant artists of the Salsero genre was born, who have captivated us and have shown their Gift before hundreds of audiences around the world. These Latin Stars have bathed us in SABOR with their lyrics and infected with joy with their melodies. It for that, this month we celebrate their births and dance to the rhythm of the applause towards them. Happy Birthday, Soneros!

Omara Portuondo (October 29, 1930)

Omara was born in La Habana (Cuba). Her first encounter with music was at a very early age. Just as in any other Cuban home, the future singer and her siblings grew up with the songs which her parents, for lack of a gramophone, sang to them. Those melodies, some of which still form part of her repertoire, were young Omara’s informal introduction to the world of music.

She and her sister Haydee sang well-known American group “Los Loquibambla” and their style, a Cubanised version of the Bossa Nova with touches of American jazz, was known as “Feeling”. In their radio debut, Omara was introduced as “Miss Omara Brown, the girlfriend of Feeling”.

“Magia Negra” was her debut record released in 1959. It combined Cuban music with American jazz and included versions of “That Old Black Magic” and “Caravan”, by Duke Ellington. Later she joined one of Cuba’s most important orchestras, La Orchestra Aragón, with which she recorded several albums, such as the one she did with Adalberto Álvarez in 1984 and “Palabras and Desafíos” on which she was accompanied by Chucho Valdés.

However, Omara Portuondo catapulted to her well-earned fame was in the mid-1990s when she collaborated in the recording sessions for Buena Vista Social Club on which she sang “Veinte Años”.

She was the star of the third launching of the Buena Vista Social Club released in 2000 and she toured Europe, traveled to Japan, and performed in the USA and Canada.

Omara went back to the studio to record her second solo album “Flor de Amor” (World Circuit), which was produced by Nick Gold and Alê Siqueira, signals a change in direction in her career: it is an album marked by a more subtle sound and a richness of texture. Portuondo brought in a mixture of Cuban and Brazilian musicians for this album, and it is this factor which influences the particular style of the music.

Omara returned to Europe in 2004 to promote this album, performing at such illustrious venues as the North Sea Jazz Festival, Marble Hill House in London, Olympia in Paris and the Concertgebouw in Amsterdam. “Flor de Amor” was nominated for a Grammy in the Best Traditional Tropical Record category and the 16th edition of the Billboard Latin Music Awards (2005); this album obtained the Tropical Record of the Year award.

Later, Omara released “Gracias”, the record that marks her sixtieth year in the music business and won the Latin Grammy Award for the Best Contemporary Tropical Album. It was a very special night as Omara was there to receive the prize in person and she also presented one of the awards, the first time that a Cuban artist has done this. The album was also later nominated for a Grammy in the Best Tropical Latin Album category.

After touring with the Orquesta Buena Vista Social Club in Europe during 2010, “the girlfriend of Feeling” released the latest recording, Omara & Chucho (Montuno Producciones) in spring 2011. 14 years after their last joint album, they reunite once again to continue unravelling the thread of their first joint project, and show us their talents in the simplest, most unclad manner on a context that enables them to lay emphasis on some of the features that been characteristic of their music at various stages in their careers.

Omara will also tour with the Orquesta Buena Vista Social Club later in Europe and the U.S.

Ismael Rivera (October 5, 1931 – May 13, 1987)

Puerto Rican singer and songwriter contributed to the dissemination of the island’s native rhythms such as the Bomba and Plena, and he was one of the first standard-bearers of the Salsero movement of the decade, the reason for he was called “El Sonero Mayor” and also known for others by the nickname “Maelo”.

In 1952 he was hired as a singer for the Lito Peña’s Orquesta Panamericana with which he became known and reaped his first hits: “La vieja en camisa”, “La sazón de la abuela” and the most popular “El charlatán”, a song in Plena rhythm that was widely heard through the Puerto Rico’s local radio stations.

Two years later he left this group to join the Combo de Cortijo with whom he popularized “El bombón de Elena” by Rafael Cepeda Atiles, and as well as performed on Puerto Rican television in the “El Show del Mediodía”.

At the end of the ‘50s, they were presenting their shows at the prestigious New York club Palladium Ballroom, where they contributed to making popular the tropical rhythms imported from the island with great hits such as “El negro bembón”, “Maquinó Landera”, “Tuntuneco ”, and others.

Ismael Rivera’s triumphant career was interrupted in 1962 for paying four years under the laws of Puerto Rico for possession of narcotics. Then, after recovering his freedom, Ismael formed his musical ensemble “Los Cachimbos” and immersed himself in the nascent Salsero movement to which he contributed two classics such as “Dime por qué” y “Mi negrita me espera”.

In the mid-70s “El Sonero Mayor” became the ambassador of Salsa throughout America, working for the record label of the genre Fania, and triumphing with emblematic songs such as “De todas maneras rosas”.

In his facet as a composer, he wrote very notable pieces such as “Besito de Coco” (famous song by Celiz Cruz), “El incomprendido”, “Arrecotín, arrecotán”, “El que no sufre no vive”, y “Mi libertad eres tú among many others.

In his last years, he suffered a throat cancer that caused him to lose his voice and he died as a result of a heart attack. R.I.P MASTER!

Jimmy Bosch (October 18, 1959)

Jimmy Bosch was born in 1959 (New Jersey, U.S.). He is a world-renowned Trombonist, composer, singer, and bandleader in the world music genres. He has been performing professionally since age 13. Jimmy’s first two solo CDs, “Soneando Trombón” and “Salsa Dura” established him as the Ambassador of the Salsa Dura movement. He ignited this movement by combining old school quality salsa arrangements with a modern NY aggressive edge and socially conscious lyrics. “El Avión De La Salsa” demonstrates and solidifies his commitment to dancer centered music, while “A Millón” is the title of Jimmy’s 4th solo record released.

Appearing in over 100 recordings, Bosch “El Trombón Criollo de La Salsa” has garnered at least 10 Grammys and has toured with his orchestra, his sextet or as a solo artist, as well as with: Eddie Palmieri, Ruben Blades, Celia Cruz, Ray Barretto, Willie Colon, Manny Oquendo y Libre, FANIA Allstars, and the list goes on.

Jimmy has been featured throughout the world in major venues and festivals, including; Carnegie Hall, Lincoln Center (NYC), Celebrate Brooklyn (NYC), Montreal Jazz (Canada), Madison Square Garden (NYC), Sydney Opera House (Australia), Barranquijazz (Colombia), El Poliedro and Teresa Careña (Venezuela), and many other important places.

Luisito Carrión (OCTOBER 26, 1962)

A native of Arecibo in Puerto Rico, Luisito Carrión has been singing since he was 13 years old. He began his career as a Salsa artist with the Orquesta Kafe, Orquesta La Nativa and Grupo Concepto Latino.

In his first performances, he sang along with Celia Cruz, Adalberto Santiago, and Santitos Colón. Later on, he was a member of Salsa Fever together with Julio “Gunda” Merced, were several hits come from: “Renta de Amor” and “Señores ahí va Julián”. Afterward, he joined the Bobby Valentín Orchestra, where he sang songs, such as: “El Señor de las Señoras”, “Ramos de flores”, “El Gigoló”, “Tributo de Cali” and “Como lo hago yo”. In his evolutionary process, Luisito joined the Orquesta Don Perignon where he sang “La Fuga” and later with the Sonora Porceña, where he performed songs, such as “Yaré” and “A Comer Lechón”.

In 1997, he recorded with Roberto Roena y Su Apollo Sound “Mi música 1997”. At the end of the 90s, Carrión began his career as a soloist with the record company MP Records with Julio “Gunda” Mercéd and Rafael Bodo Torres, which led to hits, such as: “Sin tu amor”, “La Chica Más Popular”, “Nadie Como Tú”, “Porque”, “Amiga Mía”, “Muriendo”, “Como Ave Sin Rumbo” and “Para Ser Real”. Nowadays, Luisito Carrión is one of the best Puerto Rico’s Soneros bringing on “Histeriaaaa…” in his fans.

Arturo “Chico” O’farrill

North America / United States / New York

Arturo “Chico” O’farrill “The Afro-Cuban Jazz Architect”

Arturo O’Farrill or better known as “Chico” O’Farrill was born in Havana (Cuba) on October 28, 1921. He was the son of a recognized Jewish family whose father was an eminent lawyer whom one day decided to immigrate to the United States. Arturo undertook his studies at the Riverside Military School in Gainesville, Georgia (interned by his father).

He began to love the jazz orchestras (big bands) and within that environment he fed musically, listening to recordings of Benny Goodman, Artie Shaw, Glenn Miller, and Tommy Dorsey, so much, that in a brief time he learned to plays the trumpet and became the trumpet player of the military band as well as the several dance groups.

Years later, Chico returned to Cuba. He studied law and at the same time developed his facet as a composer, receiving a composition and harmony study with the master, Félix Guerrero. Likewise, he was also Armando Romeu Bellamar Orchestra’s member and the Isidro Pérez Orchestra, when the Son and the Mambo prevailed in the Latin music.

TRAJECTORY

From 1943 to 1947 “The Afro-Cuban Jazz Architect” worked at the cabaret Montmartre. He was a member of Bellamar Orchestra, directed by Armando Romeu and integrated by Luis and Pucho Escalante, Gustavo Mas and Mario Romeu, among others. He traveled to Mexico and Europe as a trumpeter musician as well as he created the band, Los Raqueteros del Swing, being the director and trumpet.

Subsequently, he founded Los Beboppers (the first group of Cuban bop), which was presented at the Saratoga Hotel with Chico again as the director and the trumpet.

In the ‘50s decade began the successes for Chico as an arranger, working briefly for several orchestra directors, such as Gil Fuller, Noro Morales, Frank “Machito” Grillo, and Benny Goodman.

In the same way, he composed his first great masterpiece “Afro-Cuban Jazz Suite” in five movements: Song, Mambo, 6/8, Jazz and Rumba Open. This masterpiece was made and recorded for the businessman Norman Granz’s label, using the Machito’s Orchestra as an accompanist and rhythmic base.

“Afro-Cuban Jazz Suite”, according to Luc Delannoy: “begins and ends with a hypnotic flute and conga duo that reflects the essence of Cuban treatment; the union of musical universes: the European (the flute) and the African (the conga).

To these two instruments is joined the oboe, followed by the trumpets, saxophones and the “Tumbao” of the double bass… After a return to swing and bebop in the fourth movement, Chico takes us to the origins of Latin jazz with a melody of clear Arabic accents, before sinking back into the universe of Afro-Cuban percussions”. Likewise, for Benny Carter, this Suite was: “The reason for the coherence of the rhythmic parts and their relationships with the solos that have their own life and independence, Masterpiece of a genius.”

In New York and following the success of “Afro Cuban Jazz Suite”, O’Farrill writes “Cuban Fantasy” for Stan Kenton, who later changes its name to “Cuban Episode”.

In 1953 he traveled to California, where he founded his orchestra that included renowned musicians such as Mario Bauzá, Doug Mettome, Jimmy Nottingham, Eddie Bert, Fred Zito, Lenny Hambro, Flip Phillips, and saxophonist Eddie Wasserman. The orchestra used the rhythm section of the Machito’s Afro-Cuban, harp and oboe. With this concept he recorded for Norman Granz, performed in Birdland (New York), and the Hat Ballroom located in Los Angeles. In this period he composed three new movements: “La Jungla”, “Contraste”, and “Rhumba Finale”, baptized as “Manteca Suite” recorded with the Jazz player Dizzy Gillespie and orchestra of 21 excellent musicians in 1954.

He returns to Cuba again in 1956 to be inspired and immediately began working for the best record companies on the island such as Panart and RCA Víctor, recording “Chico’s Cha-Cha-Cha”, adapting the Charanga rhythm to the big band format. This album is released, one more time, on compact disc by BMG during the last decade of the twentieth century. Chico also made a recording for the popular D’Aida Quartet and arrangements for Bola de Nieve and the famous Orchestra Director, Aldemaro Romero.

In 1958 the restless O’Farrill moved for Mexico, an essential platform for all Latin American musicians at that time. There he returned to create another special sound and appears on television as musical director of the Andy Russell singer, and there his life changed radically. He started a semi-retirement period, but never stopped creating music. At that moment, he composed his famous “Azteca Suite” for trumpeter Art Farmer, and he made history again!

In the 60s he returned to New York and makes arrangements for such important figures as La Lupe (They Call Me La Lupe); Cal Tjader (Along Comes Cal); Clark Terry (Spanish Rice); Count Basie (High Voltage); Gato Barbieri (Chapter Three: Viva Emiliano Zapata); Ringo Starr (Night and Day) and dabbled in the Rock music with David Bowie (I Know It’s Gonna Happen, Looking for Lester), and finally he was director of the Aldemaro Romero´s Orchestra.

This stage extends until the end of the 20th century, although already in the 70s, the big bands go down in history for several genres that would be manifested due to their novelty and immense popularity in the United States and around the world. The architects of the new fashion used new techniques, styles, and sounds, especially in the field of harmonization. Suddenly popular music stopped being exclusively for the ballroom and -of course- “new sound” icons appeared in the Jazz Music. For this reason, Chico O’Farrill begins working in the lucrative field of music for television commercials.

In the mid-1990s, “The Afro-Cuban Jazz Architect” was contacted by American producer and Jazz director Todd Barkan with Pure Emotion, a compiled of his musical career with which he got a nomination for the 37th edition of the Grammy awards.

O’Farrill toured Europe with his orchestra in 1996 and recorded his latest album titled “Heart Of A Legend”, which contains 14 tracks, a formidable orchestra of 18 masters and a staff of international artists. The arrangements of “Heart Of A Legend”, considered for many as the best album of his career, took care by himself and the musical direction was entrusted to his son, Arturo O’Farrill Jr., a formidable pianist and heir of his legacy.

Arturo “Chico” O’farrill died on June 29, 2001, in New York City at 80 years.

Undeniably, Chico for more than half a century was a great musical creator. He was at the forefront of an innovative style that many know as Latin Jazz nowadays, which was called at the beginning with many names, such as Cuban bop, Mambo Jazz and Afro-Cuban Jazz.

Our dear “AFRO-CUBAN JAZZ ARCHITECT” Until forever!

In memory of 18 years of his passing!

Balazo de Norteamérica:

Arturo “Chico” O’Farrill

“The Afro-Cuban Jazz Architect”

In memory of 18 years of his passing!

Three albums by Arturo Sandoval to give away at Christmas

North America / United Stated / Washington DC

ISM Recommends “CHRISTMAS AT NOTRE DAME”, “ULTIMATE DUETS”, and “LIVE AT YOSHI’S” of the “Trumpet Legend” to enjoy in the comfort of your home

Here is already a month left for December and with it the fast and multiple purchases, in addition to the Christmas gifts that you should not leave for last. What a headache for some people! It’s for that we are going to recommend you the elite gift, three Latin Jazz albums by Arturo Sandoval with which you will be 100% a lord and you will not disappoint even your “Secret Santa”.

ULTIMATE DUETS

Ten-time Grammy winner Arturo Sandoval released his more recent album “Ultimate Duets” in 1998. Marking the continuation of a distinguished four-decade catalog of over 30 groundbreaking titles, the album finds renowned artists from the worlds of Pop, Jazz, Classical, and Latin music coming together for the Cuban maestro’s first duets.

At the outset of recording, Arturo with more than 40 years making music, wanted to make a CD with singers that perhaps nobody has related to Jazz, so he made a list with more than 20 names of artists that he admired deeply but who sing different genres and then simply asked each participant to suggest a favorite song they would like to reimagine with the “Trumpet Legend”, and the results are absolutely amazing as the list of collaborators.

ULTIMATE DUETS includes 11 hilarious tracks: “Andante, Andante” – featuring the awaited return of the globally recognized voice of ABBA’s Anni-Frid Lyngstad. This song from the multi-platinum Super Trooper album marked the first time that a member of the Swedish supergroup has returned to the studio to record one of their classics. Stevie Wonder chose to record “People” (which he and Sandoval first performed at a Grammy tribute to Barbara Streisand), whereas Prince Royce turned the tables and decided to record Stevie Wonder’s “Don’t You Worry ‘Bout a Thing” (Popularized in the 70s) in a contemporary Bachata style.

Likewise, the Spanish singer/songwriter Alejandro Sanz also participated in this album versioning “Corazón Partio” featuring Big Phat Band. In the same way, Arturo recorded with legends and new generation voices: Plácido Domingo (“Granada” feat. Vicente Amigo), Pharrell Williams (“Arturo Sandoval” feat. Ariana Grande), Josh Groban (Solo Esta Soledad), Juan Luis Guerra (La Bilirrubina), David Bisbal (El Ruido), Al Jarreau (After All), and Celia Cruz (Quimbara). “It was very exciting to include something with Celia, whom I always admired and loved very much. I couldn’t make a record of duets without her, the eternal Salsa Queen”, Arturo said.

Although in this album Sandoval shows a great variety of genres, he assures that he won’t move away from Jazz: “It’s my main genre and would never leave it, but I am also a big fan of music in general. I’ve always liked Salsa, Merengue, Pop … Good music is what matters most to me, for that I’m so happy with this album”, Sandoval said for an international media.

Release: May 18th, 2018

Available on your favorite digital platform!

CHRISTMAS AT NOTRE DAME

Arturo Sandoval, the most dynamic live performer of our time and virtuous trumpeter recorded his FIRST official Christmas Album with the ensembles of Notre Dame one year ago.

This album contains 12 Joyous tracks featuring the Notre Dame Children’s Choir & Isabella Burns (Ave María), Notre Dame Children’s Choir (Joy To The World, O Come All Ye Faithful, and Silent Night), Symphonic Winds (Let It Shine and Fantasy On Fum, Fum, Fum), Notre Dame Jazz Ensemble (The Christmas Song and Have Yourself A Merry Little Christmas), Gabriella Solis & Stephen Lancaster (I’ll Be Home for Christmas), Alyse Jamieson & Jazz Ensemble (All I Want For Christmas Is You), Matthew Kelly & Emorja Roberson (Frosty The Snowman), Victoria Fraser & Notre Dame Children’s Choir (O Holy Night), Sacred Music at Notre Dame Vocalists, and graduate Jazz trio!

Celebrate the Holidays NOW!

Release: October 5th, 2018

LIVE AT YOSHI’S

The last ISM recommendation is this live album recorded in Yoshi´s, an important venue located in Oakland, California. This Trumpet Concert in which Sandoval and crew render musical honors was launched in 1995 and contains seven tracks: first pays tribute to the genre’s earliest New Orleans traditions (Second Line – Joe Avery’s Blues) then proceeding on to Bebop (Bebop Medley). Without forgetting his deep Latin roots (El Manisero) and his bound-less love for mentor Dizzy Gillespie (Dear Diz and Every Day I Think of You), as well as for trumpet icons Clifford Brown (Joy Spring Sureña) and Miles Davis (Seven Steps to Heaven). A dollop of Clark Terry’s “mumbling” is even thrown in for good measure.

“I enjoyed Arturo Sandoval’s Latin Jazz concert at Yoshi’s night club on July 4th. He combined all kinds of Jazz inspiration into his own unique “Latin Soul” music. His music is so free and universal. I feel Arturo’s inspiration can bring us together and is taking us into a new dimension of our new world… – Yoshi.

Release: October 2^nd, 2015

Oh, And if you haven’t seen a concert by this “Trumpet Legend” yet, don’t miss this month 4 days of amazing shows with two sets, so you can attend at the time that suits you best in the city of the White House, Washington DC.

Dates: November 14^th, 15^th, 16^th & 17^th

Prices: $71 – $76

Venue: Blues Alley. 1073 Wisconsin Ave. NW Washington, DC 20007

Contact: 202-337-4141

Purchase your ticket online today at https://www.bluesalleylive.com/?fuseaction=home.artist&VenueID=3&artistid=19523

ARTURO SANDOVAL – Trumpet Legend

10 Time Grammy Award Winner
Emmy Award Recipient
6 Time Billboard Award Winner
2013 Presidential Medal of Freedom Recipient
2016 Honorary Doctorate recipient in Fine Arts from The University of Notre Dame
2015 Hispanic Heritage Award Recipient

“Cuando una canción es buena, siempre va a ser buena, sin importar quién, cuándo o cómo se cante”. Arturo Sandoval

More about Arturo Sandoval as well as event dates around the world at http://ARTUROSANDOVAL.com/

Social Channel:

https://www.facebook.com/pg/ARTUROSANDOVALMUSIC/

José Madera

North America/ United State / New York

José Madera, Percussion & Arranger of Machito, Tito Rodriguez and Tito Puente

One would think that a job with the world famous Tito Puente

Band keep busy a percussionist.

But the musician, arranger and composer José Madera had yet found the time to record and write music for some of the most influential bands in the world.

Prior to joining Tito Puente over 35 years ago, Madera play for four years with the famous Machito Orchestra, and recorded with many artists of R & B (including James Brown, Diana Ross, David Sanborn and Aztec Two – Step).

As an arranger for Fania Records Plant, played in several comerciales successes, and through the years has composed music for the Fania All- Stars, Larry Harlow , Johnny Pacheco , Willie Colón, and Celia Cruz .

Although he has recorded some 75 albums in 20 years, as well as numerous radio jingles and film soundtracks, Madera still had time for his other career for 15 years he had worked as a teacher and conductor in a high school for the performing arts with private funds, in the city of New York.

Jose has written many arrangements for countless commercial Latin artists and has recorded or worked with many of them as well. Some of them include: Larry Harlow, Johnny Pacheco, Chico O’Farill: The Lincoln Center Afro-Cuban jazz orchestra, Celia Cruz, Tito Rodriguez, Fania All-Stars, Willie Colon, Joe Farrell, Machito, Graciela, Mario Bauza, Willie Rosario, Earl Klughand Eddie Palmieri, just to name a few.

Jose has also worked and recorded with many pop, R&B and jazz artists.

Some of them include Diana Ross, James Brown, Dizzy Gillespie, Paquito D’Rivera, George Benson and Lionel Hampton among others.

Jose has performed on over 250 recordings. He has worked on several television show soundtracks including “The Simpsons” and several motion picture soundtracks including ”The Mambo Kings Play Songs of Love” where he was the musical arranger and conductor for the Tito Puente segment of the film.

Jose also taught the art of playing Latin percussion instruments at BOYS HARBOR in New York City for 28 years.

Jose has done and continues to do musical clinics around the country at various schools.

¨He was the musical director of the Latin Giants of Jazz from 2001 to 2009¨.

José Madera continues his musical direction with the Mambo Legends Orchestra, a band comprised of former members of the Tito Puente Orchestra, which is dedicated to performing new creative Latin and Latin jazz concepts, as well as some of the music of Machito, Tito Rodriguez and Tito Puente.

José Madera has personally re-created and re-arranged much of the music that the ban ds performed during the heyday of the Mambo at the Palladium Ballroom in New York City, which is considered by many critics to be the “Greatest and Mostinnovative Era” in the history of Latin music.

Madera’s saxophonist father Jose “Pin ” Madera, was one of the original members of the Afro -Cuban Orchestra Machito .

Young Joseph was influenced by drummer Machito (The best Latin Big Band drummer I’ve ever heard).

Later I was influenced by José Mangual and the same Tito Puente. The LP Timbale bell (circa 1966) was the first instrument Wood LP , today plays a variety of congas , bongos , guiro and bells LP.

Compared with the instruments that were used years ago , the sounds I get from the LP instruments are very authentic.

As an arranger, it is very gratifying to know that whatever you write will be accompanied by instruments LP, which only improve the quality of interpretation.

In 2008, Madera was entrusted to the Department of Research and Development LP designing the Signature Series José Madera Congas .

José Madera is proud that these drums, bearing his name, present a sound and a visual such outstanding features.