Search Results for: Latin Tribute
ISM: Fanny Almanera better known as La Sonera del Callao
On this occasion we have the opportunity to interview the Peruvian Sonera called Fanny Almanera also known as La Sonera del Callao, her nickname comes from her native country El Callao, Peru.
She was born on January 23 and is the 9th daughter of her parents (Don Héctor Almenara and Carmen Barreto), from a very young age she knew and learned many things about the music of both parents; in the lyrical genre thanks to his mother and his best teacher Dona Ana María Parodi and with respect to his father who is / was a collector of the best exponents of Salsa (especially Cuban and Puerto Rican music), both listened almost all the time to Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, among others.
When she turned 16, she realized that she was passionately and in love with the dynamic salsa genre and made the decision to leave the choir and classical music, since her love and her taste is for the salsa musical, thanking her father greatly for showing her , show him and listen to the best collection of salsa music to date … “Music is like medicine … it fills the soul and innovates over time” and over time, while gaining his experience, his own audience would give him their nickname La Sonera del Callao and with the favor of God take his parents, especially his father, to Cuba.
She also had the honor of participating for the first time in the choir to Junior Gonzales and alternate Grandes with Peruvian Orchestra such as Peru Salsa by Beto Villena, Las Estrellas de la Maquina by Boris Gomez, La Nueva Generación by Franco Covetto, during that time chosen as the best nobel voice of the salsa genre for the 80s; and at the same time he made several recordings for different groups, likewise he recorded an unpublished song of his own entitled “Yo Te Espero”.
Unlike other musicians, Fanny Almanera during this season met and currently has friends of renowned musicians, who interacted with her and her family, even before becoming a singer.
Between the 70s and 80s, Las Leyendas Latinas arrived in Peru with Ray Barreto and Adalberto Santiago, who gave him the great opportunity to sing with them “Quitate La Máscara”, then with Linda Caballero (La India), the song “Mi Primera Rumba ”, Then with the salsa pharaoh Oscar de León with the song“ Toro Mata ”and also with the great Lebrón Brothers with the song“ Sin Negro no hay Guaguancó ”. With the Owner of the Soneo Carlos “El Cano” ESTREMERA the song “Amame en Camara Lenta”, with Frankie Vazquez “El Cuarto de Tula”, with Yolanda Rivera the song “Rumba en el Patio”, Vity Ruiz brother of Frankie Ruiz the song “La Cura”, with Aldalbeto Santiago on the song “Nadie se Salva de la Rumba”.
In all these golden opportunities, he managed to ask her many questions to perfect her singing, including knowing more about how to rhyme the phrases and after a while with her imposing voice, Fanny captured the attention of the greats of salsa, representing Callao and for which the Chalaco people named it “La Sonera Del Callao”.
She tells us that she is very happy with this great experience acquired, especially that she met many internationally recognized artists, many met them in person and others thanks to social networks, expressed by many who have a very beautiful voice, which is why she sang many songs musical expressing that at the time of singing he likes it because it is his passion with all his steps (vocalization, expression, movement).
During the Covid-19 pandemic it affected her like the rest of the world, in her case the recordings of her musical themes could not be made as before since the recording studio did not work as before, she had to sing with a smaller group of people, they couldn’t get together to practice; Although he was on a halt due to the pandemic, he was able to record a challenger “El Virus Se Mata Con Musica”, invited by a Cuban musician which was also recorded by Cuban artists, which was successful as it was heard in different parts of the world.
Thank God, despite all the complications that arose regarding her musical career, she achieved many things during this pandemic and also remained active thanks to social networks and is currently activating social activities in clubs, where They work in small groups live or online.
Fanny Almenara, continues with her impeccable musical career, loving music and recording a song entitled “Amor de mis Amores”, a salsa version with the Orquesta NG del Callao Director Franco Crovetto.
For her vast artistic career, she was awarded by different musical associations and by the company Pinsen Callao, Asocosalsa Peru (Ceremony Tite Curet, Busto Hector Lavoe, Charlie Palmieri and 25 Anniversary of Artistic Life (Okonkolo Association) and a few days ago she received the award The Miami Radio Salsa Superior Award Director Richard Roman (“La Dama De La Salsa” Award)
After his voice reached Cuban pages like the page “Benny More”, “Un Millón De Adalsoneros” and “Al Son Del Pinar Del Rio” She was invited to the day of Son 8 de mayo led by the gentleman of son Adalberto Álvarez, later I also record a song authored by the Reyna del merengue Milly Quezada “Gracias A Ti” dedicated to those who are always in the front line such as doctors and nurses in Covid 19 and the latest that the production of the song La Sitiera Tributo has recorded to the Cuban diva Omara Portuondo in which Nelson Gonzales participated in the tres, Eddie Montalvo on the congas, Nohelia Zambrano from Colombia on the violin and Luis Perico Ortiz on the Trumpet
For more information:
- Tik Tok: @fannyalmenara
Hector Maisonave Manager of the Greatest Salseros in New York.
60 years in the business in the “Salsa” music industry, Héctor Maisonave says: “I have not seen anyone who surpasses the talent of Héctor Lavoe”.
You have managed the careers of so many salsa luminaries, how do you consider Héctor Lavoe’s talent?
I saw in Hector a supreme talent, to this day I have not seen anyone who can surpass him.
Not only as an artist selling tickets, selling records, but also as a human being.
There is no comparison of any kind, no matter who the artists are that are current today, to this day there has been no one that can replace Hector Lavoe.
He continues to this day as the most successful artist in all aspects.
He has managed and catapulted the careers of stars such as Héctor Lavoe, La Lupe, La India, Ismael Rivera, Tito Rodríguez, Gilberto Santa Rosa, among others.
“I continue to derive satisfaction from my work, my main addiction,” said the Puerto Rican producer.
With almost 60 years in the difficult and no less unpredictable music industry, today, on his 81st birthday, the artistic promoter Héctor Maisonave looks back to see that nothing remains the same in the business, but even so, his “musician soul” does not allow him to give up.
He has been a faithful witness and an important part of Latin American musical history, as a tireless promoter of the salsa rhythm in every corner of the planet.
His resume is impressive; he has produced more than 6,000 events; he has managed and catapulted the careers of some 80 artists, including stars such as his namesake Héctor Lavoe, Tito Rodríguez, La Lupe, India, Ismael Rivera, Raphy Leavitt, Gilberto Santa Rosa and La Sonora Ponceña.
And his experience has been recognized on more than one occasion by the artistic world.
In 2010, this veteran businessman received the “Lifetime Achievement Award” from the Lincoln Center of New York, a distinction for his years in music production and management.
On that occasion, Diana Cortot, executive director of International Concert, the non-profit institution that presented Maisonave with the award, said that he was chosen because of the great help he has given to so many artists and his efforts to create a market for Latin music in the United States. “The Latin music industry, and salsa in particular, owes him a lot,” she said.
To this, the award-winning businessman, with the humility that has characterized him in each of his acts, simply said: “I don’t feel special, but privileged and honored”.
Born in Old San Juan, Puerto Rico, Maisonave was part of a great migratory stampede of Puerto Ricans who traveled to New York in the 1940s to escape poverty.
“It was here, in this city, where I took my first steps as a producer in the summer of 1950.”
Even at this age, memory remains one of his best attributes.
“I began to organize concerts in open spaces that attracted hundreds of people, who arrived in some buses that we arranged for the public, and they were like a kind of patron saint festivities in which transportation, food, dessert and dancing were offered… That was the beginning of everything,” he recalls while, suddenly, a special gleam begins to appear in his eyes.
That was the time when she discovered what her vocation was. But he also had to raise his voice, fight hard for his goals and defend his roots. He was even one of those who protested on New York’s iconic Fifth Avenue so that the New York City government would grant him permission to hold a Puerto Rican parade.
Héctor Maisonave
“There were many inconveniences that got in the way, but there are more beautiful memories that light up my mind when I think of the dreams achieved,” confesses the man who had the idea of organizing Latino shows aboard boats that crossed the Hudson River to Bear Mountain.
And aware that, as he says, “turning 81 is not an everyday thing,” he says he is very happy to continue fighting the battle. “I continue to get enormous satisfaction from my work, my main addiction,” said this industrious Puerto Rican with his usual good humor.
Lately, his schedule has been as active as ever. From April to date, he has organized concerts for Grupo Mania and Tito Rojas (both in Philadelphia, Pennsylvania); José Alberto, “El Canario”, and Andy Andy at Six Flags New England, Springfield, Massachusetts, and next month he will be in charge of the presentation in Panama that salsa singer India has scheduled.
Source: Frank Manuel Orellana Rosas
Article of Interest: Richie Bonilla Management is a Latin Music booking and Managing Agency
Vicente “Little Johnny” Rivero Conguero, Percussionist, Producer, Composer and Band Leader
“Tell me your name in leather, Little Johnny, Little Johnny” Hard Strike.
Conguero, percussionist, producer, composer, and conductor, Little Johnny Rivero has performed throughout the United States, Canada, Europe, Africa, Asia, the Caribbean, and the South Pacific.
Born in New York City to Puerto Rican parents, Rivero was attracted to Latin jazz and the sounds and rhythms of the New York area rumberos as a child.
At age 10, Johnny began practicing percussion and joined his school band.
Shortly thereafter, he took dance lessons, which eventually led him to stage performances with the bands of the time at such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.
At age 14, Rivero joined Orquesta Colón, the youngest Latin band in New York City, and recorded two albums with them.
Shortly thereafter, he took dance classes, which eventually led him to perform on stage with the bands of the time in such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.
In 1973, Rivero moved to Puerto Rico with his parents and joined Sonora Ponceña in 1974.
After playing bongos with them for a year and a half, he switched to congas, which rekindled the love he had for the instrument as a child.
Rivero attributes the rhythms and professional direction he learned from Quique Lucca and his son, Papo Lucca, as qualities that have made him what he is today.
During the 16 years that Rivero played with La Sonora Ponceña, he traveled all over the world and made 18 highly respected albums with them.
Rivero has recorded with producers such as Eddie Palmieri, Brian Lynch, and Dr. Lonnie Smith.
In May 1997, Rivero shared the stage with his inspiration and idol, José Mangual. Rivero’s credits also include work with Charlie Palmieri, Dave Valentín, Rubén Blades, Cheo Feliciano, Andy Montanez, Ismael Miranda, Celia Cruz, Giovanni Hidalgo, Ray Barretto, Patato Valdez, Changito, Tata Guines, John Santos, Sergio George, Bebo Valdes, Paquito D’Rivera, Tito Puente, and many other artists.
Rivero’s first solo effort, “Pasos Gigantes,” was well-received by critics and music fans.
He wrote and produced all the songs on that CD, showing off his skills as an arranger and musician.
He is currently working on his next CD, “Music in Me”, his first Latin Jazz album, which will include musicians, Brian Lynch on trumpet, Zaccai Curtis on piano and keyboards, Luques Curtis on bass, Louis Founche on saxophone, Andrei Matorin on violin, Ludwig Alfonso on drums, and Anthony Carrillo on bongo and bata drums.
Currently, Rivero is traveling internationally with Grammy Award winner Eddie Palmieri.
He also continues to record in-studio sessions and perform with many of the most respected acts in Latin music, including his own band.
Legendary conguero, percussionist, producer, composer and bandleader Little Johnny Rivero is proud to present his latest album, Golpe Duro, with Anthony Almonte.
From New York and after moving to Puerto Rico, he spent sixteen years with the Sonora Ponceña band and recorded eighteen highly respected albums.
He has played with many of the biggest and most respected names in Latin music, including nine-time Grammy Award winner Eddie Palmieri.
During that same time, Little Johnny formed his salsa band and his Latin jazz band and continued to teach percussion at Kennedy High School in the Bronx, NY. It was there that Anthony Almonte, a high school student at the time, would become one of his music students.
Little Johnny has always had a passion for writing music and over the course of four years since his last album, he was inspired to write once again. He set out to create a danceable album that would highlight the roots of Son Montuno, Guaracha Mambo, and Latin jazz.
The only thing missing was a singer. In a rehearsal, his friend and colleague Jeffery Lopez mentioned that there was a talented “new guy” on the block. He came down, and here he was, Anthony Almonte from Kennedy HS. As they say “the rest is history” and the result of their collaboration is Little Johnny’s latest album, Golpe Duro.
Website: Little Johnny Rivero
Article of Interest: Eddie Palmieri: A Memorable Career
Larry Harlow ¨El Judío Maravilloso¨ Salsa Legend
He is a traditional and important figure in Latin music.
Pianist, Multi-Instrumentalist, Arranger, Composer, Producer and Musical Director Lawrence Ira Khan “Larry Harlow el Judío Maravilloso” was born on March 20, 1939, in Brooklyn, New York, USA.
He traveled to Cuba in the ’50s, at which time he established his residence and began to study Afro-Cuban music. After gaining experience, he returned to New York to develop his own style and created his group “The Harlow Orchestra”.
Later, he participated in “The Fania All Stars”. During his years with Fania, Harlow recorded 35 albums as the leader of his own orchestra and another 20 as a member of Fania.
He also produced more than 200 recordings for other artists, created and composed the first salsa opera, “Hommy”, which he orchestrated, directed and performed in New York and Puerto Rico.
Harlow stays active on international tours as well as in the main cities of the United States. In the present day, in addition to playing with his band, Harlow records and directs videos for standout artists from the United States and Europe.
Larry Harlow, a salsa composer.
The Latin music iconic pianist’s career in 10 recordings that marked an era and the history.
Heavy Smokin’ (1966)
In 1964, future salsa impresario Jerry Masucci went to the Chez José club to go dancing with his girlfriend in Manhattan. Impressed with the orchestra playing, Masucci approached its leader, a young pianist of Jewish origin named Larry Harlow, and offered him a record contract. Harlow would be the first artist signed by the newly-opened label of Fania Records. Recorded with Cuban singer Felo Brito, this first LP includes “La juventud”, as well as “Chez José”, which was a tribute to the club where it all started.
Presenta a Ismael Miranda (1969)
In the late 1960s, Harlow found the singer who would bring his group to the aristocracy of salsa: a young Puerto Rican boy named Ismael Miranda. Although their personalities are completely different, Harlow and Miranda record a series of explosive LPs with Afro-Cuban rhythms. This is their second collaboration and features some boogaloo songs, which was the fashion of the moment. The bassist is Bobby Valentin, who contributes three songs, including the lethal swing of “La Contraria”.
Abran Paso! (1971)
While collaborating with the legendary Fania All Stars as a keyboard player, Harlow feverishly records, taking advantage of the explosion of salsa as a cultural phenomenon. His trombone and trumpet sound reaches a paroxysm of flavor on Abran paso!, anchored in such wonderful compositions made by Ismael Miranda as “Abandonada fue”, “Donde llevas el son” and “Dolor y amor”. The singer brings his Puerto Rican sensibility, while the orchestrations of Harlow are nurtured in the tradition of Cuban son. An combination of electrifying artistic and commercial success.
Homenaje a Arsenio Rodríguez (1971)
When Arsenio Rodriguez (musical genius, blind, and pioneer of Cuban son passed away in Los Angeles in December 1970) Harlow quickly decided to record an LP dedicated to his work. Along with Miranda, he wrote the song “Arsenio”, a strong salsa with Cuban flavour and a climate of heartbreaking melancholy. The rest of the LP, which was recorded in an eight-hour session, is dedicated to Rodríguez’s repertoire, with extraordinary versions of “Tumba y bongo”, “No me llores” and “El terror”, among others. Indispensable.
Hommy A Latin Opera (1973)
In the early 70s, Ismael Miranda decided to leave the orchestra of Harlow and pursue a solo career, which would cause animosity between them for a long time. Harlow began developing ambitious projects. Inspired by the rock opera Tommy by the English group The Who, he recorded Hommy, with the participation of Cheo Feliciano and Pete “El Conde” Rodríguez, among others. Harlow asked Celia Cruz, who was neglected by the music industry at that time, to sing “Gracia Divina”, which resurrected her career.
Salsa (1974)
Harlow recorded one of his most significant albums in just two days. Under the simple title Salsa, it paid tribute to the Cuban roots of tropical music, combining the trombone and trumpet sound with two violins that evoke the aesthetics charanga made by groups like Orquesta Aragón. With “La cartera”, a cover version of a song by Arsenio Rodriguez, Harlow achieved his biggest hit. Thanks to singers Adalberto Santiago and Junior González, the nickname “El Judío Maravilloso” came about.
El Judío Maravilloso (1975)
Harlow continued to record prodigious albums, now with Junior Gonzalez as lead vocalist. This LP of the year 1975 continues to exploit an epic sound with a amarked Cuban influence. The opening track, “El dolorcito de mi china”, by Arsenio Rodriguez, lasts 10 minutes and includes a piano solo full of virtuosity and expressiveness. The peak of keyboard player’s carrer showed no signs of fading, as demonstrated by his versions of “Buenavista guaguancó” and “El negrito ñéngere”, as well as the psychedelic instrumental “Latin Roots”, composed by Harlow himself.
La Raza Latina (1977)
At the end of the 70s, salsa is fertile ground for grandiloquent experiments of a symphonic character. Harlow participated in this trend with a musical, A Salsa Suite, which describes the evolution of the tropical genre from Africa to the Caribbean, passing through New York of the 50s and 60s and culminating in a song dedicated to the future. Harlow hired Rubén Blades to be his vocalist, although this is not his prime. A failed and brief album, but fascinating in its conceptual ambition.
Larry Harlow presents Latin Fever (1978)
Harlow always showed the eclectic trends of a cosmopolitan musician. In 1970, for example, he recorded a rock record in the style of Chicago band with the group Ambergris. In 1978, he produced this fascinating LP by Latin Fever, a group consisting of 14 female singers and instrumentalists. These include percussionist Susan Hadjopoulos, who would become famous with English Joe Jackson, and the singer Ada Chabrier, who also collaborated with Ray Barretto and Willie Colón. A rarity that is worth discovering.
Larry Harlow’s Latin Legends Band (1998)
Harlow continued to record high-quality LPs in the 1980s. In the late 1990s, when the interest in classic salsa had been increasing, he formed the band Latin Legends with conguero Ray Barretto and singer Adalberto Santiago. This first album includes the participation of Pete “El Conde” Rodríguez (a few years before his death) and Ismael Miranda. The sound is warm and organic, emphasizing the musical knowledge of these veterans. According to Harlow, it was his favorite band to play live.
The Jewish Salsa Pianist, Innovative and Irreverent
This day 20 / 8 /2021 and after 32 days hospitalized “El Judío Maravilloso” Larry dies in New York at 12:30 a.m. from complications as a kidney patient that weakened his already weary heart.
Words of his wife Maria Del Carmen Harlow-Kahn
“Mi Amore, you are already free to play your music in the celestial orchestra. Thank you for the honor of accompanying you and loving you till the end of your life.
You will live forever in my heart and in the hearts of all who love your music and your huge legacy, fly high my Wonderful Jew and rest in peace.”
Sources:
Artículo de interés: La voz de Markolino Dimond y su irreverente piano en Funk / Soul & Funk-Disco “The Alexander Review