In this edition we bring you the most relevant news about the world of salsa in the different regions of the world.
Search Results for: Latin
ISM presents the Dominican salsa singer Quique Mota
International Salsa Magazine presents Quique Mota as a new Dominican talent of Latin music, a salsa singer born in Santo Domingo, Dominican Republic in 1974, during his youth his parents Luis Mota and Balbina Castillo observed his emotion, passion, taste every time he listened those tropical rhythms of the time, which were the Merengue, Son, Timba, Salsa, the latter most notorious motive inclining his taste towards this contagious rhythm.
And his interest was further developed when he was influenced by his paternal uncle Ramón Mota “mon trumpeta” making the decision to soon become a vocalist, starting with the parties in the neighborhood, singing whenever he had the opportunity and on Fridays at his school, where he was forced to sing since his companions always liked to hear him sing.
Motivated by great singers such as Ismael Miranda, Ismael Rivera, José Alberto “El Canario” Oscar D’León, Paquito Guzmán, Gilberto Santa Rosa, Tonny Vega, Wilmer Lozano, among other artists, he decided at the age of fifteen that that was what I wanted to do on a professional level; So he began to work on vocalization for a few years and singing in different popular events, he gained experience both as a singer and as a composer.
He mentions that Salsa is more than a musical genre that was born from the neighborhoods and that became popular through the corners and / or streets of New York between 1960 and 1970 … it is the history and experiences of the people, the town (person generally lower class), where the musicians express their musical themes in their lyrics, especially the romantic part and the rumba, managing to reach their listeners and / or dancers in their being; For Quique personally it is his relief, a poem as well as the song, an essence in his life with which he was born and at the age of 15 he wanted to find the meaning of his dreams of being a great salsa musician.
The salsa genre emerged many years ago where it acquired its fame, but today the young population believe that Salsa is old music, outdated with a very good reputation, unfortunately the majority of the young population chooses what is fashionable, listening more reggaetón, hip-hop, electronics, rap, among others, losing in the process the opportunity to listen and enjoy good music, acquiring in the majority (rap and reggaetón) vulgar language as well as the degradation of the person (woman and ¬ / o men).
He tells us that if we want to make Salsa notice and popularize, we need to support both new talents and great artists and make ourselves noticed, without thinking that it is old music, that it can evolve and update us with a modern language without reaching vulgarity so much in the letter as in the clothing, so that it adapts to the taste of the new and current generation; And another very important point is that the songs that you create are adapted to the country where the singer and if not explain the meaning, for example in the Dominican Republic there are many terms that we do not know, and in his next musical theme that is a romantic sauce I call it ¨ Ella es mi Golpe¨ what does it mean ¨She is the love of his life¨, which tells us that it will be released in about 2 and a half months with its video clip.
All his songs are his own, they are his experiences, experiences, things he sees, phrases that his life offers him … many things can give the emergence of phrases for the creation of his musical themes; Quique Mota, presents his first single. “Dice”, a song of his authorship, which already sounds on the Dominican Republic stations and internationally, such as Canada, USA, among others, with which he intends to gain the popularity of the public.
For Quique, the pandemic that we live to date due to COVID-19 was not an obstacle as it happened to many, I take advantage of the time of course with all possible precautions to avoid contagion to continue with his musical career, he mentions that The human being is a being that adapts to his environment and this was a clear example, only that one has to know how to take advantage of the tools that one has at hand, musical talent is not only about concerts, parties … depending on what We can do to benefit ourselves without putting ourselves at risk is to overcome difficulties and many of them took advantage of one of the most extensive and complex tools that is the Internet.Although almost all of us use it, we do not use it correctly but in the most basic thing. … Such a wide work tool and knowing how to use it is a success for you… for example events, classes, concerts, live interviews through social networks.
Quique had his ups and downs in his musical career and he tells us that his friend Montuno Salsa advised him and it was his apprenticeship and motto in his beginning as a new talent … “time job … do not faint easily and lose the opportunity to continue since you have to take advantage of the opportunities “…” dreams are pursued and fought, they are not achieved overnight, they are processes that must be fought as warriors … a Well made sauce, even if it doesn’t have the support that you think or need, it will like it wherever it is as long as it is well made and it doesn’t get tired of working … and the most important thing is I put my work in the hands of papa Dios, the great one … “
Quique mentions that everything is crossing and emerging is thanks to: his Venezuelan producer Franklin Zamora, who upon meeting him in the Dominican Republic knew what Quique really wanted and how to express it and / or express it, he also has Mary Yemaya, a Venezuelan promoter and producer of salaeeos events, it is she who guides him in Salsa and encourages him to contact us to promote it and get to know it better; He also thanks Juan Carlos Trinidad, José Bello, Montuno Salsa, Dj Salsero 2020, Etnia Salsera,, Joseph Fonceca, Edward Serrano and mainly his family, especially his beloved wife. He wants to extend a special thanks to the people of Venezuela for contributing a group of talented and valuable people who have helped him to pursue his dreams and to join great talents of Latin music worldwide, becoming one of the best exponents of the salsa genre in his country.
He mentions that he wants to give a special thanks to the people of Venezuela, for bringing many valuable and talented people into their lives, who will pursue their dreams and get hooked on the great talents of salsa music worldwide, becoming one of the best exponents of the salsa genre of your country.
Let’s meet the Pharaoh of Salsa, who is he? Oscar D ‘Leon .
Biography of Oscar D ‘Leon
Óscar Emilio León Simosa, was born in the populous Antimano parish in Caracas -Venezuela, on July 11, 1943, known in the artistic world Óscar d ‘León, son of Carmen Dionisia Simoza and Florentino Padrón. However, he did not recognize him at the time of birth, so the marriage of Carmen Simoza and Justo León decided to take care of the child.
From an early age, little Oscar enjoyed the popular parties that were held in Antímano and listened to the music of great orchestras such as La Sonora Matancera, the Billo’s Caracas Boys Orchestra, the Matamoros Trio, and two of his greatest musical inspirations, Celia Cruz. and Benny Moré.
He began his musical career relatively late, at 28 years of age, after having carried out two jobs totally unrelated to music, such as taxi driver and mechanic; He was educated academically as a surveyor, but never practiced that profession.
Oscar learned to play bass empirically, his innate talent for music was so extraordinary that it allowed him to earn a position in one of the orchestras that played in a renowned nightclub in the city of Caracas. There Oscar also did the choirs, but he did not interpret any song as a soloist.
His life changed when the lead singer of the orchestra was absent from one of the presentations and Oscar proposed to fill that vacancy and he did it in a great way, so much so that he received the approval of all those present.
In 1972, the owner of “La Distinción” told him that he would dispense with his services, since he would require an orchestra of higher quality and experience. Oscar offered his group to the owner of the premises, although he did not have it. It was here that D ’León went, together with the trombonist César Monges, from door to door looking for some musicians with whom he considered he could put together a group with which the venue could get out of trouble. It is there where they meet the percussionists Elio Pacheco and José Rodríguez, the trombonist José Antonio Rojas (Rojita) and the pianist Enrique “Culebra” Iriarte (who would later be replaced by Jesús Narváez). At this moment the project to create the Latin Dimension is accelerating.
They premiered on March 15, 1972, in a rehearsal at the home of “Culebra” Iriarte in La Guaira and debuted in “La Distinción”. In that same 1972 the orchestra recorded their first full-length album and obtained their first hit, the song “Pensando en ti”. This first success led them to be hired to participate in the Maracaibo carnival festivities. We must emphasize that Víctor Mendoza was the one who suggested using his stage name as “Oscar D´León”. There were many songs that Oscar hit with the Latin Dimension, “Llorarás”, “Taboga”, “El Frutero”, “Mi Tierra”, among many more.
In 1976, at the highest point of popularity, Oscar D’León confronted differences with the rest of the members of the group, for which he separated from the Latin Dimension and formed his own orchestra; “La Salsa Mayor” recording his first LP titled “Con Bajo y Todo”.
After some legal problems that momentarily led him to remain briefly detained and deprived of liberty and to be questioned in the media, he decided to change his image and presence, dispensing with the qualifier “El Diablo de la salsa” that had been given to him in Panama.
In 1986 he relapsed into acting, this time in the Venezuelan film “Hell is sure.” Later, he began his international leap, taking his music to countries such as Japan and to stages such as Madison Square Garden in New York, the Poliedro de Caracas and the Teresa Carreño Theater. At this stage, he alternates and records with those who had been his youth idols: Celia Cruz, Eddie Palmieri and Tito Puente.
He also presented himself as the companion for singers of the new salsa generation who was part, like him, of the label belonging to Ralph Mercado “RMM”: La India with whom he would record the song “Hazme el amor” or José Alberto “El Canario” with who would record “The flavor arrived.”
Oscar D´León has received numerous awards and honors. In 1996, with the album “Sonero del Mundo” in collaboration with the Cuban musician Willy Chirino makes him obtain the nomination for the Grammy.
On March 15, 1998, the city of New York honored him by naming that date as Oscar D’León Day.
On December 20, 2009, he was admitted to the Intensive Care Unit of a Caracas clinic after suffering a heart attack in Martinique, from which he recovered after undergoing catheterization.
On November 21, 2013 he received the Latin Grammy Award for Excellence for his musical career, thus recognizing the impact of his performance in the world, also that same year he would receive the Grammy Award.
Today, Oscar continues to delight us with his wonderful musical talent …
Anacaona Areito de Anacaona ‘Golden Flower’
Anacaona was the last princess of the Caribbean and protector of the Taino people.
“Anacaona, areito de Anacaona”, sang Cheo Feliciano before a heated crowd at the Cheetah club in New York late on 26 August 26, 1971.
It has been more than 50 years have passed and the chorus from the pen of Tite Curet Alonso resounds as if it were yesterday. But who was Anacaona?
Anacaona or Anakaona. (1474-1503)1 was an aboriginal Taino chieftain of Bohío Island. She governed the Cacicazgo of Jaragua after the death of her brother Bohechío. She was condemned to be hanged by Governor Nicolás de Ovando.
Anacaona means ‘Golden Flower’ in the Taino language. She was a Haitian princess of Taino origin who was born in the year 1474 at Bohío, as it was dubbed by its inhabitants and then divided into two Caribbean countries: the Dominican Republic and Haiti.
After the death of her brother Bohechío, Anacaona would take over as cacique to rule the Chiefdom of Jaragua. She had a natural talent for poems, which she sang in the areitos, dances, and songs with which the Taino Indians celebrated their festivities and religious rites.
Anacaona received Christopher Columbus on his first voyage at Christmas 1492. She felt admiration for the new knowledge and skills of these people to solve day-to-day challenges.
Those led by Columbus established a settlement in the new territory, which they called Christmas Town. It is said that this was the first building of the Spaniards in America.
But harmony would not last for long. The abuse on the natives began, especially women who were mistreated and raped without hesitation.
Anacaona would not accept the oppressive tyranny and persuaded Caonabo, her husband, to destroy the settlement where the invaders were based.
Christopher Columbus left the territory and, upon return in November 1493, he found Christmas Town destroyed and its more than 43 men killed. It was an affront. Anacaona escaped and became an Indian of a captive race, as the song goes. But her freedom would not last long. After an intense search, she was captured and bound to hang in 1504.
The Tite Curet Alonso’s ‘Anacaona’
Tite Curet Alonso composed ‘Anacaona’ without knowing who she was. The song written from one day to the next would be included in the album “Cheo” (1971) of Vaya Records. The label sought to re-launch Feliciano’s musical career, who had stayed away from the stage as a result of the rehabilitation for his drug addiction.
In an interview posted on Youtube, Tite says that he was inspired by a Lecuona Cuban Boys orchestra’s song (recorded in the 1930s) and baptized it with that name in honor of the Cuban girl group Anacaona.
He says he tried to “make up a mystical story” about Spanish and Indian slaves. When composing, Curet did not know he was telling the true story of the Haitian princess who fought against the Spaniards in the early years of the discovery of America.
After the release of the album was released, which was well received by the public, Curet visited a priestess who knew the life of Anacaona and had heard the song in the voice of Cheo Feliciano. After knowing the story, Tite was greatly impressed.
The woman informed the composer that it was the Taíno ancestors who inspired his pen in each verse.
“But how is it possible that you wrote that song? Now you have to make a song for Caonabo and I will tell you why: because from a certain generation upwards, you are a descendant of Caonabo and Anacaona”, said the priestess.
It did not take long for Tire Curet to publish his tribute to ‘Caonabo’, the Indian fighter who, like his wife Anacaona, fought against Spanish oppression. The song was included in his production as a singer-songwriter entitled “Aquí estoy con un poco de algo” (1975).
The Cheetah concert on August 26, 1971, gave rise to the salsa boom and allowed several young talents to make history. Moreover, it opened the way for composers like Tire Curet Alonso, who with songs like ‘Anacaona’, created the soundtrack of Latin American soul.
Images courtesy of Museo Taino Anacaona
https://www.museoanacaona.com/
Dominican Republic
