We meet today with Taino Roldan from the fabulous station Radio Brisa Tropical. Good morning Mr. Roldan, hope you are well.
Quite well, thanks to God. Warm greetings to you from our radio station Radio Brisa Tropical.
How did you start liking broadcasting and how did you know you wanted to get into this?
Whilst resident in Italy, I began my career as a DJ there and in Germany. When I returned to the United States, I started going to all the local stations to have a salsa show. At first, they always replied that they were not interested and the doors were closed to me, but that never caused me a problem. I have always believed that if a door has closed, you have to find a way to enter that world, no matter what. At last, I started working at an AM station where I spent three years and then at a FM station for almost 10 years.
During this whole period, I was studying broadcasting at the local university and playing with the internet. It was by that time that streaming and webcasting, which was in 2005 if I got it right. A friend of mine who was a computer programmer told me that I could broadcast my shows in this manner. I asked him for help, given he was the expert, so we did this and connected. At that time, Facebook or any of those things did not yet exist, but MySpace did. Then we managed to webcast until the streaming service came out from the hand of YouTube and other platforms, and that’s when I opened my accounts in those social networks and created my website.
While I was on FM, we continued webcasting until 2012, which was when I officially left that station. I was on about four FM stations, but on different days in the area where I was. After I stopped working in those places, I decided to keep right here in my own studio and do my show solely and exclusively on the internet and it has been the case until today. It has been 31 years of happiness and here I am still standing.
Taino Roldán in his studio, where he webcasts his show Radio Brisa Tropical
We understand that this Radio Brisa Tropical project started in 1991. How was this idea conceived?
While I was on AM, my show was not called Brisa Tropical, but rather “¿Qué pasa?” There we included all kinds of music and gave cultural news about all countries, since I am in an area represented by all Latin American countries, the Caribbean Centre, South America and Spain. Having such a diverse audience, I decided to talk about all countries and not just mine, which is Puerto Rico. I talk about the important days of all the countries such as independence days and other historical events. I want to make content to entertain and educate the audience.
When I switched to FM, the station where I did my show is called “The Brise” and it played contemporary music in English. So, I sat with a friend who was helping me and it was there when I called my own program “Brisa Tropical”, as it is during that time that we included salsa, merengue, bachata, vallenato and much more.
Thank the Lord and the audience we have, we are more dedicated to salsa, and when I say “salsa”, I am including Cuban son and all these Afro-Cuban rhythms that were called salsa since the 70’s till present. However, we like to include all tropical music, classic as well as contemporary. So, it is at the point now where we have created an international audience, and that’s why it is so important to identify and mention the names of the artists, the orchestras, the composers, the arrangers, the members of the groups. Let us remember that there is plenty of time on the Internet. This is nothing like an AM or FM station that are commercial and you only have to reduce the amount of time. Here, I am the programmer and the announcer.
Radio Brisa Tropical is streamed exclusively on the Internet
You have already told us about the role played by the internet and social networks in implementing your project. So much so that networks have become the main transmission channels of the station. Is the internet the main broadcasting channel or are you still on the radio?
My show is streamed exclusively on the internet. Commercial broadcasters were my beginning, but I am absolutely sure that the future is the internet and I am not just talking about Facebook because this social network is not a music platform. I have my YouTube channel, my Facebook page and my Twitter account, but webcasting has opened the door to all musicians, performers and composers from anywhere in the world. The internet is the future of music. I am dedicated to salsa and Latin jazz, but I usually include other genres that listeners often ask me for, such as cumbia, tropical music, vallenato, etcetera.
In addition to salsa, your station plays other genres such as Latin jazz, vallenato, cumbia and plena. Why did you start this project with salsa as a base?
I grew up with salsa and developed myself as a DJ for many years both in Italy and Germany. Although I used to play everything, when I saw the love of Europeans for salsa on the dance floor, I always decided on it. Salsa has always been my life. I like all positive music, but I will always prefer to broadcast salsa and Latin jazz. Now, if a listener asks me to play a good song that does not have high-flown words or anything, I have no problem with it. Here I have been asked to play even rancheras because I have learned that you never say no to that loyal audience.
You currently broadcast live on YouTube, Facebook and your website. Do you know which transmission channel has a bigger audience?
Most of my audience listens to me through the link to my server and website. Remember that the website has the links to the channel and the other social networks. Through TuneIn, I receive a lot of audience around the world. I also use Live365 because the station pays royalties and I have the license to broadcast legally. The problem is that this platform is not heard in some places in South America or Europe, which is precisely why I also use TuneIn. When I check my content every day, I realize that we have a lot of audience coming from the Caribbean, South America, Central America, Europe and the United States.
Taino Roldán holding a Wito Rodríguez album
Age ranges of Radio Brisa Tropical
Many would say that the genres played on your station are to the taste of an older audience that enjoyed the salsa of the 70’s, 80’s and 90’s. What is the age range of your station?
According to the demographic information and the comments I am getting, I have seen that we have people from 10 or 11 years old and up. Once, a lady sent me a comment saying that her 100-year-old dad stayed in bed listening to the station and even sent me a picture of him smiling. I’ve also received messages from young people. I would say my demographic ranges from 20 years old and up.
I include classic salsa because many of those performers and bands remain relevant with their legacy despite having passed away, but there are also many salseros from that golden era in the 70’s and 80’s who are still active like Willie Rosario or La Sonora Ponceña. I have a lot of Venezuelan and Colombian friends from Venezuela who always send me music.
I like to balance my way to program. I like to take people back to the 70’s and even beyond, bring them back to the present and explain the ins and outs of a song or album. One of the most important things a broadcaster must do is to mention the artist, the composer, the arranger, the musicians, among others. You have to talk about the piece that is playing and what is behind it.
Taino Roldán and Willie Rosario
What you are saying is very important because many times people only focus on the vocalist or leader of a group, but they do not wonder about all the behind-the-scenes work or even talk about the rest of the members, such as the guitarists, the pianists, the arrangers or the musical directors. In that sense, what do you do to disseminate all this information?
I like reading a lot. If I am going to talk about a specific artist, I will look for who he is, what his trajectory is, how his beginnings were, what he did, what he is doing now. Of course, I have never included any personal data. This is very important to me because this helps the artist to sell his stuff. When there were a lot of record sales, I had the habit of checking the back to read the liner notes of that artist. That information is very valuable to me because that is what I use to inform the audience unequivocally.
From what you have told me, you have been working exclusively on the Internet for many years. Did you do it before or after the pandemic?
I had already been webcasting my program on the Internet for many years. In fact, I have been doing it since 2012. Thank goodness, the pandemic has not affected me in any way. My wife and I have taken care of ourselves and followed the sanitary rules, but this situation has not affected our work. On the contrary, I am here before the microphone in my studio while I speak and play music every day in the morning. It may also happen that I bring my laptop to a remote location and air the show from there or through my cell phone. I have done a lot of interviews during all this time because I like it so much.
What other projects or shows are you carrying out?
I have discovered that I can do a show about music, but without playing music. Sometimes I do it, but this is not my usual due to the issue of copyright with Facebook. I have a show called “Hablando de Salsa” and I am proud of it because it has been very successful. I am doing this project with Eduardo Saya. The show is entirely about salsa and we broadcast it every Wednesday at 6 PM CST. There, we always choose a different subject to be tackled every day.
Taino Roldán and his wife Carmen Roldán
Link to the Facebook page of Taino Roldán: Taino Roldán
He is one of Mexico’s most important musicians and cultural heritage, recuerdos del Son with Jorge Anselmo Barrientos Silva.
Jorge Barrientos was born on November 14, 1953 in Mexico City. He studied music at the Escuela del Sindicato Único de Trabajadores de la Música del Distrito Federal. Groups and orchestras in which he has worked: Mocambo, Horóscopo Tropical, Jorge y su Boogaloo, Sonora Brasilia, Sonora Mayoral, Yímbola Combo, La Justicia, Sonora.
In 1980 he founded Recuerdos del Son (director, arranger, and composer), whose group is already part of our cultural heritage of Afro-Caribbean music in Mexico. This group has participated in festivals, conferences, concerts, and courses, in the most important auditoriums and theaters of the CDMX and the interior of the country. It is worth mentioning that it has been the only Mexican group invited to Nicaragua.
Within his musical career he has been a commentator on radio stations such as Radio D, Radio Educación, La Tropi Q and XEB. He has published several works on Afro-Antillean music and especially on Cuban Son -among others- El Son Raíz y evolución, La Clave en el Son cubano, Método de Tres and a didactic disc on the variants of Son.
Jorge Anselmo Barrientos Silva y Erika Muñoz
Regarding pre-Hispanic music, he published the research: ANALOGÍA ENTRE LOS INSTRUMENTOS DE PERCUSIÓN PREHISPÁNICOS Y LOS DEL SON CUBANO (ANALOGY BETWEEN PRE-HISPANIC PERCUSSION INSTRUMENTS AND CUBAN SON). He has given conferences, concerts and workshops in several cultural spaces such as Faculties of the Universidad Autónoma de México, Cultural Centers in Mexico City, as well as in the interior of the Republic.
He has participated in the Cervantino Festival twice, the Caribbean Festival in Managua, Nicaragua in 1984, Festival de las Artes in Monterrey, Nuevo León, Tabasco, Querétaro, San Luis Potosí, etc, etc. Jorge A. Barrientos Silva was an advisor in the Chamber of Deputies, and commissioner of the Musicians Union.
He has been Secretary of Political Action and in charge of the Legal Department. In the Musicians Union, he was a founder of the Afro-Antillean music workshop, besides having given countless lectures on the Cuban Son and its variants.
Jorge, how many productions have you recorded?
FIRST PRODUCTION OF MR. GENARO ÁLVAREZ (R.I.P.D.)
First production of Mr. Genaro Álvarez (Q.E.P.D.)
INDEPENDENT PRODUCTION, OWN BRAND, EL SON RECORDS
Record pressed in Pentagrama brand, production Jorge BarrientosIndependent production for the company’s own brand, discs SonRecord pressed at the pentagram brand, production Jorge BarrientosRecord pressed at the pentagram brand, production Jorge Barrientos
Among those productions, which is the one that has left a mark in your musical history?
All of them have been important and, for example, the album HOIMENAJE PEREGRINO, is a product that record collectors look for and has a special value.
The album, recorded live at the Teatro de la Ciudad, is a document that contains compositions and arrangements by the members, including music and piano solos by Mexican jazzman Héctor Infanzón.
We know that you participated in a festival in Nicaragua, can you share with us about that great experience?
It was something special, since several groups from all over the world participated, among them, Italians, Venezuelans, Cubans, etc. and when playing “al tocar al tú por tú”, the Mexican musicians did not shrink.
You participated in several recordings of your musical partners, to mention a few Tony Camargo, Linda Vera, Wuelfo Gutiérrez, (former member of the legendary Sonora Matancera), what did these great musicians leave you as a musician?
Participating with great music legends is an unforgettable experience since they ask you to interpret the scores, according to the recordings that have left their mark.
Were you in the golden age of Afro-Antillean music, how did Afro-Antillean music develop in those years?
Without underestimating the work of today’s musicians, the era I lived in was very special, because each group tried to put its “stamp” on each performance, nowadays, regularly and with honorable exceptions, most of them “sound the same”.
In the present time, do you consider that Afro-Antillean music has transcended?
Yes, it has transcended, but, with the globalization of culture, sometimes there are few novelties.
Jorge, which show do you remember that alternated with the salseros from abroad?
In the fever of the ’80s, fortunately, the businessmen looked at us to alternate with the great figures, among these I can mention: Irakere, Orquesta Aragón, Gran Combo, Sonora Matancera, Sonora Ponceña, Son 14, Adalberto y su Son, etc.
In the fever of the 80’s, fortunately, businessmen looked at us to alternate with the great figures
¿Recuerdos del Son is already a cultural heritage of the CDMX did you imagine that someday it would happen?
The work in the cultural area has been the goal of our efforts. How nice to receive the affection and recognition of the people, who are ultimately the ones who make our career.
As director and musician of your own orchestra, has it been difficult to get to where you are?
Music and being in the show business is a daily battle, and if it has been difficult, of course, no one has the formula for success, we will continue in the daily struggle, preparing ourselves and presenting our new productions,
How did your love for the guitar, the bass and the Cuban tres come about?
First, I am a descendant of a bohemian family, where the guitar was never missing, then with time my love for the bass and then the Cuban tres began.
Are you still performing?
I’ve been performing on Saturdays at the Salón Caribe and other dance halls for 4 years. The cultural activities have been suspended for some time now (by covid) but, hopefully, the presentations in festivals and theaters will be reactivated.
Do you still feel the same adrenaline rush when you step on a stage?
Fortunately, it’s the same emotion, you never know if the public is receptive or ignores your efforts.
In your musical career, have you been honored or received recognition?
Yes, I have received countless recognitions, both for the trajectory of RECUERDOS DEL SON and for the research work I have done.
Jorge before saying goodbye we want to thank you for being and existing as the cultural heritage of the CDMX.
Would you like to close this talk with a few words?
Some say that Son is dead, Don Ignacio Piñeiro used to say: “Son is the most sublime thing for the soul to have fun, it should die, who for good does not judge it.
MAY THE SON NOT DIE, WITH CLAVE AND BONGO, MEMORIES OF THE SON.
The month of January 2022 in this prestigious and exclusive place in Havana the best talents, orchestras, singers of the island are being presented, every weekend a different artist with the musical quality that characterizes the Cubans.
Aila Mompie, Asi Son, Tanin Pantoja, Quinteto Maden, Lazarito Valdez y Bamboleo, Papucho y Manana Club, El Hijo de Teresa y la Llegada, Leonel Limonta y Azúcar Negra, Yvan y la Leyenda, La Octava Nota, Zule Guerra, Maykel Hores y RB Salsa, Charanga Latina, Waldo Mendoza, Yordano y el Hermano, Giraldo Piloto y Klimax, Vania, Ronny, Casabe, Max Max, Pascualito Cabrejas y Tumbao, among others.
a de la Música, Playa / Miramar in Havana Cuba
Since it opened in the mid-nineties, this concert hall has consolidated itself as the temple of salsa and Cuban son in the capital. The best bands have played on its stage and the programming continues to be irreproachable.
It is a beautiful place in Havana, where orchestras from different artistic catalogs of the country perform, a spectacular place to enjoy good popular dance music in its halls.
The house was built in the 40’s in one of the most aristocratic neighborhoods of the capital and was the headquarters of a lodge of the Masonic Foundation. It had two floors of masonry and tiles and included in its ample distribution a party room, stage, and auditorium, a premonition of what it would be half a century later. The Irrumpe Theater Group and the Fondo Cubano de Bienes Culturales (Cuban Fund of Cultural Goods) also passed through it, then sadness came over every corner of the House until EGREM knocked on its doors to break the silence and turn it into the House of Musicians and Cuban Music.
It began with the EGREM Award Gala in April 1995 and in October of the same year, with the concert of the great Cuban musician Chucho Valdés and the group Irakere, it passed the test of fire because this concert was recorded live in the memory of the House thanks to the latest technology equipment it has.
The House was created to exhibit and commercialize the Cuban discography in different media and to promote the recognition of the work of our artistic talents through live presentations, and as a complement to this, the gastronomic offer, always preserving the most genuine values of the national culture.
We are an organization that from the hand of its Founder, Director, and Editor Eduardo Guillarte, in force since 2007 has been working nonprofit helping to promote:
Orchestras, Singers, DJs, Clubs, Plastic Artists in North America, Europe, and Latin America and Asia and with the contribution of volunteers in various parts of the world, which at the same time invite and recommend all lovers, dancers of our Latin music to visit the Casa de la Musica, Playa / Miramar in Havana Cuba.
Since Friday, January 21, 2022, is available on Youtube the new video clip from the Mercadonegro.
Mercadonegro was Created at the end of 2000 with influences from Salsa Dura thanks to their experiences working with artists such as Celia Cruz, Alfredo de la Fe, Cheo Feliciano, Tito Nieves, and many more.
Orquesta Mercadonegro titled “Que Ironia” song that is part of the production SOMOS DEL BARRIO, returning to the radio waves and digital platforms, a song that had been on hold, but now takes off from this group of Latinos based in Europe.
Orquesta Mercadonegro de Suiza
SOMOS DEL BARRIO is the 4th production, of which stand out songs like: Triste y Solo, Quien a Hierro Mata, Rumba Negrito and also this current song “Que Ironía”, as always the boys of Mercadonegro highlight their work by the mixture of different cultures and Latin roots that enrich their musical style.
“Que Ironía” was born from the inspiration and ideas of Rodrigo Rodriguez Puerta & Eddie Villanueva Chininin, which relates the daily experiences of human beings, in their day to day nonconformity, and as the same lyrics say
“Nobody knows what he has until he loses it”.
This time it is Oscar “Chucky” Cordero who is in charge of the musical arrangements and even participates in the trumpet solo.
Mercadonegro, based in Switzerland, was founded on November 15, 2002, since then they have participated in the biggest Latin/Salsa and Jazz Festivals in Europe, and they have toured China (Asia), Colombia and Mexico (Latin America).
Its Directors : Armando Miranda ” El Moro ” was born in Havana – Cuba, with studies in the conservatory and participation with different Cuban artists. He is the lead singer of the orchestra and composer of some songs.
Rodrigo Rodriguez Puerta, born in Cartagena, Colombia, since he was a child he awakened his interest in music, percussionist, chorister, singer, composer and music producer.
In this most recent title “Que Ironía” participate the following musicians: Authors: Rodrigo Rodriguez Puerta / Eddie Villanueva Chininin
Arranger: Oscar ” Chucky ” Cordero
Piano: Oscar Ivan Lozano ((Oilo)) Bass: Dimitris Christopoulos
Full Percussion: Rodrigo Rodriguez Trombones: Johan Escalante Trumpets: Oscar ” Chucky ” Cordero Baritone Sax : Gills Grivola
We are an organization that from the hand of its Founder, Director and Editor Eduardo Guillarte, in force since 2007 that has been working non-profit helping to promote: Orchestras, Singers, DJs, Clubs, Plastic Artists in North America, Europe and Latin America and Asia and with the contribution of volunteers in various parts of the world, which at the same time invite and recommend all lovers, dancers of our Latin music to follow La Orquesta MercadoNegro from Zurich-Switzerland.
Long live music and its only and great protagonist, La Salsa.
Five Salsa & Latin Jazz Events To Be Held In The UK Capital That You Can’t-Miss
The United Kingdom has removed essential restrictions against Covid-19 and its Omicron variant after battling weeks with the new wave of infections in the country since the end of last year.
The British executive has provided the relaxation of the restrictive measures due to the low numbers of infected people and deaths. This relaxation seeks to initiate the return to complete normality.
The new measures that are no longer mandatory are the use of masks (it will be at personal discretion, however, they must wear them if the site is crowded with unknown people or it is a closed space), and Covid passports are no longer a legal requirement to enter to the establishment.
For these reasons, we bring you a range of options in the Salsa & Latin Jazz genres in the country this month that you will be excited to see, and that you will not want to miss any detail. Here, we go…
Gabeto offers Cuban, Colombian, and Puerto Rican Salsa style, classes
We open this poster of options with the Gabeto Camden Restaurant/Bar. This Cuban gem north of the city has two floors, a Latin atmosphere, and an outdoor terrace. They serve genuine Latin dishes, modern British drinks with Afro-Caribbean twists, and have a wide variety of nightly events throughout the week.
On Tuesdays, Wednesdays, Fridays, and Sundays you will live the Salsa experience with the instructor Ramiro Zapata (from Bolivia) with more than 20 years of experience in Salsa. Ramiro teaches his Cross Body style with a mix of Cuban, Colombian, and Puerto Rican Salsa, as well as a strong focus on Cali (Colombia) style footwork, male body movement, and female style. The cost of the lessons varies depending on the length of instruction; one hour is £10 while two hours cost £12. Lessons start at 7:30 PM and end at 9:30 PM except on Sundays with Rumba Pa’ Ti classes which are from 6:30 PM to 8:30 PM. The Cuban spirit is found in Gabeto, located at Camden Market, The Stables Market, Chalk Farm Road, a few minutes from Camden Town and Chalk Farm stations. Only people over 18 can attend and for more details, visit their website.
Sundays at the Salsa Temple Bar are 9 continuous hours of Salsa
We continue with the Salsa Temple Bar. Every Sunday they are explosively Salseros. DJs Jorge Andre & DJ Jlatino mix the most recognized songs of yesterday and today from Timba, Salsa, Cubaton, and Bachata. Beginner Salsa Classes start at 6 PM, Bachata lessons at 7 PM, and Cuban Salsa instruction is at 8 PM. The cost for admission is £5 and on February 14th, they will offer the Valentine’s Night Fuego event.
Starting this month Salsa Temple Bar with Rhythm & Vibes Dance Co and The Latin Collective will make Monday nights the biggest Afro-Latin party in the country appearing in the Latin Room (Second Room) Salsa, Bachata, and Reggaeton. In addition to this, there will be Salsa and Bachata classes for one session (1 hour) for £7 and two sessions (2 hours) for £10.
Bar Salsa Temple is located at Temple Station WC2R 2PH. Join and experience the Sabor in detail on its official website.
Roberto Pla is the Colombian percussionist known as the “Father of Latin Music” in the UK
As a third option, we bring you the concert of Roberto Pla’s Latino ensemble on Friday, February 4th at Pizza Express – Holborn. This Latin Jazz concert led by Colombian percussionist Roberto Pla is made up of a 12-piece band of saxophones, trumpets, trombones plus a powerful layered percussion section with Roberto on timbales and the powerful voice of Graciela Rodríguez.
The most recent presentations of the Latin Ensemble orchestra have been the Brecon Jazz Festival, Expo Festival Lisbon, Canada Square Festival, Under the Stars Festival, among many others.
Admission to enjoy this live performance is £25 and starts at 8:00 PM. The venue is Pizza Express Jazz Club located at 99 High Holborn since 2017. This Jazz Club is considered one of the best clubs of its kind in Britain with an international reputation. Performances by Grammy winners such as Gregory Porter and Amy Winehouse have been seen here.
The Ronnie Scott’s Jazz Club presents every Friday of the month “Viva Cuba Live”
We continue with the most important and historic jazz club in the world founded in 1959, Ronnie Scott’s. In addition to the main club, there is the bar known as Upstairs @ Ronnie’s, it is highly regarded as an elegant and luxurious venue recreating the atmosphere of the ’50s, ideal for spending the night in style.
As part of the new Jazz club policy, they are expanding their program of Latin events at Upstairs @ Ronnie’s. Below I detail the events that will be held on Fridays from 6 PM during this month.
Jesús Cutiño Band + DJ Gavin (February 4th). Jesús Cutiño is a Cuban singer-songwriter recognized as one of the best Tres players in Europe (the Tres is the Cuban guitar that forms one of the pillars of the Cuban Son sound).
Sarabanda + DJ Rico (February 11th). With this band, you will listen to arrangements of classic and contemporary Cuban songs.
Son Yambu + DJ Jim (February 18th). This group plays the authentic Cuban Son that originated in the streets of eastern Cuba at the beginning of the last century and later gave rise to modern Salsa. Most of the members come from Cuba and have the experience of a lifetime playing the genre, as well as being passionate about maintaining the traditions of Cuban Son.
Havana Latin Fun + DJ Alex (February 25th). This five-piece band led by piano/vocals René Álvarez presents Cuban melodies with amazing rhythms.
Ronnie Scott’s Jazz Club is located at 47 Frith St, London W1D 4HT, and you can find out more by clicking here.
The Latin and Ballroom Dance course for beginners will be held in person
We close this list of Latin events in London with the Latin and ballroom dance lessons for beginners next Saturday, February 12th. With this one-day course, you will learn how to perform the basic steps, footwork and move around the floor with the correct dance line. The hours will be between 11 AM and 4 PM, and the price is £25. The maximum limit is 30 students. The venue is the Bishopsgate Institute located at 230 Bishopsgate EC2M 4QH. An institution was erected for the benefit of the public in 1894 with the motto “I never stop learning”.
