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Joel Uriola

Latino America / Venezuela / Caracas

Joel Uriola “I am the best, because I surpass myself”

Very soon the theme will be released, Cuidadillo there ok

This Venezuelan pianist, arranger and musical producer was born on January 4, 1963 in Caracas, in the popular parish of Antímano, the same one that saw the birth of Sonero del Mundo Oscar D´ León, by chance or his destiny was already written and en route. towards a dream that over the years would come true; be the best and that your work is recognized both nationally and internationally.

In our gathering, Joel tells us that when he is classified as the best, he has nothing to do with competing with others or with airs of greatness, but with surpassing himself in everything he proposes, he tells us that “my path is longer, but I came as Joel Uriola”, his name is a seal that ensures quality work.

With 38 years of musical career, Joel Uriola has plenty of talent, level and experience, in each production he uses the best group of Venezuelan musicians and continues to be at the forefront of music, all this is demonstrated in the more than 1000 musical productions in which he has participated as a performer, director or musical producer, with national and international artists.

Joel Uriola The best?

“That’s right, metaphysics says that you can’t talk about yourself in a negative way, you can’t sell a product if you don’t have good marketing, you must see beyond, be your own manager, most record companies are in the hands of ignorant people. the music that drive the artist’s work”. “Artists have the obligation to cultivate themselves, learn and not only be musicians, we must project ourselves in a big way”.

How did your childhood develop and what was the atmosphere of the time like?

“I had a good education in my home, with values, a grandmother with character, who told me that no matter where you lived, your behavior would make a difference, she always motivated me, just like my mother who also instilled in me to prepare myself, my grandmother was an enterprising woman, my father was a rumba guitarist and a professor at the Católica”. “I remember that I saw the debut of the Trabuco Venezolano in the CC Propatria, as fate would have it, my mother had an office there, as did the people of the Latin Dimension.”

At what age did you start in music and with which orchestras did you take your first steps?

“My musical beginnings took place at the “Prudencio Esáa” School of Music, starting professionally at the age of 17 with a group called Galaxia, I was the conga player, it was a Son group and we rehearsed at the observatory”. “Then I became part of the Caracuchos of Joseito Rodríguez from 1977 to 1979, whom I met thanks to Jesús “Totin” Rebolledo, later with the Latin Dimension from 1979 to 1980, from Cesar Monges I learned a great deal, and from 83 to 87 with Oscar D´ León.

And why is there that change from the conga to the piano?

“Due to the noise I made in the house when I was rehearsing and the equipment turned on at full volume, my mother subliminally gave me an organ, it was less noise, and then I began to imitate what the pianists did in a self-taught way, I remember the theme of Pete Rodríguez… What things life has, life, life”. “Then my mother bought me a piano and took me to audition at the School of Music and I stayed, I was a student of teacher Tiero Pezzuti, Gerry Well and Samuel del Real”. “In the nightclubs of El Rosal I did many substitutions, there I polished myself, I had a good preparation and some great teachers who are my friends”.

Joel Uriola - piano — Joel Uriola – piano

What anecdotes do you have about your experience of working alongside Oscar D´ León, and about that piano solo on the song “Cuídate bien”, did you ever think that being so young, almost 20 years old, your name would remain forever on the mind of the salsero?

“The time with Oscar was glorious, I got to know many places, we toured for 3 and 4 months, we enjoyed ourselves but we also had a lot of fun, I learned a great deal and disciplined.” “I had the blessing of meeting many musicians that I admired such as Eddie Palmieri, Salvador Cuevas, Barry Rogers, among others, with Domingo Quiñones I made a great friendship.” “As for improvisation, I feel great pride, it was something that came out at that time, I don’t know if it will come out again -laughs-“.

Which musician has been your biggest influence?

Markolino Diamond, Eddie Palmieri, Papo Lucca.

A pianist you admire?

“Markolino Diamond is my idol, a lot of what I do has to do with this guy, if he were alive he wouldn’t exist…”. “He was irreverent, crazy, he broke the schemes.”

How do you see the response of the salsa audience with your productions?

“There will always be admirers and detractors, with the level of awareness that you gain, it doesn’t bother you that there are people who don’t like your work, I make music for everyone”. “Public opinion can kill you if you are not prepared for it, but you must believe in what you do.”

How do you see the support of the media to spread your music?

“Thank God the record companies disappeared, those who knew the least about music controlled them, they decided that it was commercial and that it was not, in the alternative media there is response and support, however, social networks allow you to reach in a matter of seconds many places and you can do your own marketing”.

What do you think about the fusions that you are doing with salsa, for example, salsa and reggaeton?

“It works perfectly, it’s urban salsa, reggaeton with its lyrical content has improved a lot, they’ve softened it, reggaeton artists have great economic and communication support.” “The good things are guaranteed, reggaeton is seen as Salsa was seen in its beginnings, with bad eyes, but you see, Salsa is worldwide even the Chinese dance it, people consume what the radio puts on it, even if it’s bad, there’s room for everyone”.

As a music teacher, what have you contributed to the country?

“Train the next generation, in values and discipline, and that seed continues to germinate, help people regardless of how they sometimes pay you.”

Why musician and not another profession?

“I wanted to be Disip (Venezuela’s intelligence corps), but when one is born marked for something, that’s what goes… My destiny is music.”

How do you see the music industry right now?

“Everyone is recording with their own effort, you make a song, you upload it to the networks, we have that powerful tool in our favor; the record companies limited you, hardly any albums are recorded anymore”.

Can you live from music?

“Well… Thank God I can do it, every day I get up like a conuquero to work, I can live from music.”

Of the 9 productions under your belt, which do you think is the best or the most important for you?

“Babalawo (2009), the best achieved, the best worked in all aspects, was sold in all religious houses.”

What motivated you to form your own orchestra?

“I’ve always been a leader, that’s why I decided to form my own orchestra, everyone has their moment”.

Isn’t it a difficult job to compose and arrange?

“You are born for this, it is not difficult, you must study and prepare yourself, my muse can arrive at 3 a.m., I get up and add or season my music in my own way, I listen to traditional Cuban music, jazz that inspire me.”

What is Joel Uriola doing right now?

“Currently I dedicate myself to producing for other artists of the Salsero genre, always offering quality, the most recent is the work with the Mercadonegro Orchestra with the theme Rumba Negrito”.

You are the arranger of the 3 songs that made the Bailatino orchestra known internationally, you have been the Producer and arranger in five songs of “Rumberos del callejón”, among other Venezuelan artists. What does it feel like to contribute so that other Venezuelans are successful?

“At the moment you do things, you do it with the best intention, and that is the greatest satisfaction, helping others grow regardless of how they pay.”

Do you feel that unity and camaraderie are lacking in the salsa guild?

“Totally, without unity nothing is achieved.”

What do you think of copying, imitating and not creating?

“He who imitates is destined to fail, one must have personality, you must not cling to something foreign to survive, what you do has more value, you must have creative capacity”.

Future plans or present?

“I am recording two songs, Cuidadillo there ok composition by Maurice Melo, a salsa with tasty rhythmic elements, timba and hard sauce, and the second song You are the teacher has a Christian connotation, with the Praise Orchestra, the song is my own. , a cool sauce with Christian sauce”.

Joel reaffirms us “My road is long, but I arrive as Joel Uriola, I am who I am, I am the best”.

La Topa Tolondra & its Salsa with Criterion – Colombia

Latin America / Colombia / Cali

Something magical happens in a unique space in Cali – Colombia: Topa Tolondra

La Topa Tolondra & its Salsa with Criterion ¨ A magical place in a unique space in Santiago de Cali¨

Because what matters is the music and its only and great protagonist “la salsa” a whole universe of happy individuals united by the melody, and all this happens because the salsa is tattooed in the hearts of many caleños and visitors to the area who It becomes evident on the dance floor, where you can find that visiting salsa public from all over the world that dances professionally, there are also those who dance well and those who don’t dance, but who doesn’t give a damn? “nothing”.

Those who are stung or guilla of dancers, those who go in sandals, those who go with tennis, those who go with heels, those who go elegant, those who go relaxed, the dreadlocks with long hair, those with afros, the gentleman and the lady, the chickens, the urban cyclists and even the rockers… and the list is endless because what matters is the music and its only and great protagonist “salsa”

“Lovers of Salsa and Bolero romantics attend weekly without age limits” To the rhythm of the Charanga, the Pachanga, the Boogaloo, the Guajira and the Son Cubano, it is enjoyed every night at the Topa Tolondra. Something unique happens in that magical place and that is that everyone forgets what they will say and they enjoy it from start to finish. In addition, local and international artists such as:

Esteban Copete y su Kintelo Paci co, Habana con Cola, Los Hermanos Lebrón, Clandestina Orquesta, Africali, Ebano y Marl, Bailatino, La Negramenta, Bobby Valentín and among others. For special dates ¬these and events such as Halloween that is approaching are organized. In “La Topa” as it is already known in Cali, sounds resound that arrived in the city between the 50s and 70s, where Salsa shapes the body and bolero its spirit, and going a little deeper we also perceive inclusive energies.

“Having fun is the only requirement to attend” “The Environment” For an unforgettable night you need two halves. The first is a table, chairs, water and drinks. And the second, and perhaps the most important: music and hit.

In Topa Tolondra there is plenty of space for gozadera, to sit down, to toast. Time does not run and there is no decache… “La Música” Here they marry the old guard of Los Hermanos Lebrón, Ángel Canales, La Sonora Ponceña, Frankie Dante and La Flamboyán.

The curatorship of its owner Carlos Ospina, its disc jockey and owner, is to learn it. It is not at all about impressing, it is about knowing how to find the subject at the right time.

¨Variety¨ Mondays are for foreigners. On Tuesdays there is a cinema-forum space and separate classes that are included with the 3 for 1 promotion (for every 3 Salsa songs, one bolero). Wednesdays are the best dancers in the city, Thursdays are dedicated to live salsa.

Finally, Fridays and Saturdays are reserved for these traditional Topa. “To Many Degrees” If your hair is long, bring something to tie it up with. If you are wearing a long-sleeved shirt, roll up the sleeves. If you are one of those people who is not used to consuming water, be prepared to drink what has not been drunk in a year. In La Topa you feel the harsh heat, so it is necessary to establish breaks to go outside to cool off “the heat outside will seem cool to you.”

For a round night, the ideal combination is beer, brandy and water, in dosed sips. Does the temperature exhaust? Yes, but it doesn’t matter if the song that is playing touches your ¬bras and reaches your heart. If you don’t know La Topa Tolondra, be sure to go and if you want to get a clearer idea before visiting, visit their fan page on Facebook www.facebook.com/Latopabar but don’t stay intrigued! Location of La Topa Tolondra. Cl. 5 #13-7, Cali, Valle del Cauca, Colombia Telephone: +57 323 5972646

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!

We spoke with Andrea Chaparro from Lulada Club

Lulada Club is a group composed entirely of women that plays a good number of Latin music genres such as salsa, bolero, cha cha chá, boogaloo, among others. These girls have a very interesting concept that caught our attention as soon as we checked their social networks, so we decided to get in touch with their director, Andrea Chaparro, who kindly agreed to talk to us and give us more details about the group she leads.

Name of the orchestra ”Lulada” and how it emerged

We found the name they chose for the group very curious, so Andrea went on to explain that Lulada is a Colombian drink, specifically Cali (the capital of salsa) that comes from the lulo fruit. She and her partner, who is also part of the orchestra, wanted to pay tribute to this city so important for their careers and for salsa in general.

The idea came from several sessions and rehearsals in which they were deciding what name to use, but they always knew that they wanted it having to do with Cali. In the end, they thought that ”lulada” sounded very good and mixed the term with ”club”, which originated a result that they all liked.

Why only girls?

Andrea recognizes that having a Latin female orchestra is not a novel idea, far from it. In fact, she saw this concept in Cali in several all-female orchestras that have been around for decades, so she wanted to replicate that idea.

About six or seven years ago, it was when she wanted to create an all-girl group and the opportunity was given to her in the framework of the pandemic. In Colombia, the artist had been playing with other all-male groups, but she began meeting other female musicians and instrumentalists and had the opportunity to organize a group for an event to which she and her saxophonist partner were invited.

When we wanted to know more about the selection process of the members, Andrea noted that she did a sort of search on Instagram to see their work directly, but several of the girls were brought in and recommended by other members.

Some of these girls had not had the opportunity to develop their skills because they were always underestimated in the Latin salsa scene for being female or very young, so Lulada Club has been a great opportunity for them to grow and evolve in music.

Lulada Club and Andrea Chaparro — This is the whole group, Lulada Club

She considers that they have all fit together very well with the group and understand each other perfectly most of the time, which is why she considers that they have been very fortunate to find each other and join their professional lives.

Andrea and Lulada Club in New York

At the moment, all of the members of Lulada Club live in New York and have no plans to move to any other place, since their greatest opportunities have been given to them in this city.

She does say that they are completely open to the possibility of touring both nationally and internationally whenever they find it possible. Indeed, at present, they already have many invitations to attend concerts and festivals in many other cities in the United States, but they will not base the orchestra anywhere else.

Both Andrea and the rest of the girls feel that their biggest audience is there and many people in positions of power are seeing what they are doing and taking them into account. People, club owners and event organizers have received them with open arms and have taken them into account for events of all kinds.

One such event is SummerStage on August 2, whose main attraction will be the maestro Eddie Palmieri, who will be offering one of the last concerts of his career after announcing his retirement. It is a great honor for the girls to be able to open for this world-renowned artist who has contributed so much to salsa and Latin music since his beginnings.

The news about their participation in the event made them very happy and feel that all their hard work has paid off.

Andrea Chaparro on stage with Lulada — Andrea Chaparro singing on stage

Genres played by Andrea and Lulada Club

As we have mentioned at the beginning of this edition, there are several Latin genres played by Lulada Club such as salsa, cha cha chá or boogalo, but each one has its own audience.

In that sense, Andrea said that they play a lot of hard salsa for dancers and classical music coming from the clubs in Cali. There are certain songs that can never be out of their repertoire such as ”Llorarás” by Oscar D’ León, ”La rebelión” by Joe Arroyo, ”Brujería” by El Gran Combo de Puerto Rico, among others.

In cases where we get a quieter audience, we can play a bolero or cha cha chá, but everything will depend on the reaction of those present to our performance,” said Andrea on this subject.

In terms of their original songs, they have two recorded and their names are ”La Palma” ”Lulada ya llegó”, which has been very well received by those who have heard it.

Undoubtedly, Lulada Club has a lot to offer to the audience and fortunately festival organizers and club owners are realizing the great potential of this group, and every day that passes they are taking more into account in their lineups.