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Angel Bonne He was part of Juan Formell’s Los Van Van Orchestra, and collaborated with the impressive Irakere band of maestro Chucho Valdés

Latin America /Dominican Republic

Angel Bonne born in Santiago in 1961

Angel Bonne began his musical studies at an early age, developing his skills on the clarinet.

The artist confesses that genetically his father, Enrique Bonne, “has a lot to do with his musical taste”; he grew up watching him play the piano, and the drums played in the patio of his house, where musical meetings were held with greats such as Pacho Alonso and Omara Portuondo among others.

After graduating from the National School of Art, he worked as a saxophonist in groups such as: Galaxia, Santiago Feliú, Beatriz Márquez (where he also acted as director), Granma (Santiago de Cuba) and Cuban Orchestra of Modern Music (Santiago de Cuba).

He also participated as a saxophonist, in albums of renowned singer-songwriters such as Amaury Pérez Vidal and Evelyn García Márquez.

He also collaborated with other groups such as the Grupo Síntesis and the Irakere by maestro Chucho Valdés.

His interpretative quality and musical talent led him to form part of one of the most important orchestras of Cuban music, Juan Formell’s Orchestra, Los Van Van, where, in addition to playing the saxophone, he performed as an arranger and singer.

During this period, he interpreted everlasting successes in the history of Cuban popular dance music, as is the case of the song Azúcar, still very much in demand despite having been recorded for more than 25 years.

After graduating from the National School of Art, he worked as a saxophonist in groups — Angel Bonne He also participated as a saxophonist, in albums of renowned singer-songwriters such as Amaury Pérez Vidal and Evelyn García Márquez

His passage by this musical group, is qualified by the own Angel Bonne, like one of the most important moments of his artistic career, in fact has continued collaborating with this transcendental orchestra in the record productions due to the mark left by its vocal timbre in the chorus.

At the age of 33, he decided to make his career as a soloist without abandoning his role as an instrumentalist and his qualities as a composer, and he formed several groups.

His versatility allows him to venture into several musical genres, among which jazz, Nueva Trova and popular music stand out. — Angel Bonne He also shows his skills as a composer, arranger, performer, conductor and record producer.

Since then, he has starred in several record productions: “Pa’ decir lo que yo siento”, “Circunstancias”, “Esta es mi música”, “Por favor escuchame” and “Bonne and Bonne Co. He has also made three albums in which his facet as a singer-songwriter is evident; these are these are: “De otra manera”, “Buscándome”, and “El guardián”. He has participated in more than 60 albums recorded with well-known Cuban figures.

He made the original music and soundtrack of the Cuban soap opera EN FIN EL MAR, from which hits like ESE soy yo, Sueños en la inmensidad and Cada uno por su lado were released.

His versatility allows him to venture into several musical genres, among which jazz, Nueva Trova and popular music stand out.

From Bonne’s discography, you will always remember songs like: ¨Usted will return to passer¨, ¨No I know why he wants me to mi¨, ¨Pura vestment¨, ¨Ya I went from the 20¨, Amigos, which was also nominated in the category of best video of the year at the PREMIOS LUCAS, (an important Cuban audiovisual competition) to others, which also showcase his skills as a composer, arranger, performer, bandleader and record producer.

By: Diana Marie

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Selena: the series The New Netflix Show

Selena Quintanilla Perez

Also known as the queen of tex-mex, Selena was undoubtedly one of the greatest exponents of Latin music, her songs continue to be played on many radios around the world, and keeping in mind the legacy that the singer has left, this is not surprising. If you don’t know who this extremely talented artist was, right now it’s a good time to find out about her story, the new Netflix series called “Selena: the series” shows her artistic career in detail, and it also let us watch an important part of her Personal life.

Selena was not only an icon of the genre she pioneered, but she also greatly facilitated the exposure of many Latin artists that emerged after her tragic death; All this has only made the expectations of the fans who adore the artist continually grow, but is this show just a gift from Netflix for the Selena fans, or is it also capable of pleasing the general public?

How good is the series?

It is important to mention that, as mentioned before, the show does not focus exclusively on Selena’s artistic career, but shows what the life of the Quintanilla family was like, always in a smooth way, without trying to be too dramatic. We constantly observe how what reigns in the family is the union, despite all the adversities that they go through; However, as the series continues, we observe how the tone changes little by little until we reach the last episode, where the approach is clearly cruder than that of the rest of the series.

Despite being a biographical series, the way it is told can be very entertaining, it is a show that seeks not only to tell what the artist’s life was but also to entertain the viewers, even those who watch it without knowing the singer’s story.

Another important aspect to mention is the fact that this series is authorized by the Quintanilla family, which means that the events we see on the screen are very similar to those that have taken place in real life. On the other hand, unlike what many may think when hearing about the series, the first season does not tell the whole story of Selena until the day of her unfortunate death, but focuses on her first steps as an artist, as well as at the beginning of his rise to stardom; However, season two will focus on the artist’s legacy, what it meant to her fans, and how painful and heartbreaking her death was.

The show is highly recommended for all those who want to see a new version of the story, although it is true that what we see on it may not surprise those who are very familiar with the singer’s life, it is definitely worth seeing a different version with the Netflix production in between, plus, it may turn out to be very interesting for those who do not know the history of this iconic artist.

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“Alfareros” launches “Guerrera”

One of the countries located in the Caribbean, we have the Dominican Republic being the 2nd largest island in the Caribbean, where the most popular music is Spanish and African, in rhythmic, tonal and harmonic aspects.

The Catholic Music Ministry Alfareros, are the winners of the Latin GRAMMY 2018 in the category “Christian Album in Spanish”, released their most recent single entitled “Guerrera”

Which is a sticky musical cut of meringue with a typical flavor, which serves as a tribute to all women who face the battles and phases that life holds for them every day as true warriors.

The launch coincides with the celebration of 25 years in the art of ALFAREROS. Junior Cabrera, director of Alfareros and composer of the single, affirms that “Guerrera”, “is a hymn of hope and with it we want to recognize all the women fighters, who without fear have faced or still face diseases, abandonment, discrimination or violence”.

Felina Tejada, is the main interpreter of the song and one of the most recent members of the group, shares that “this song is a call for joy and faith, in this time of trials in which the world is facing the pandemic of COVID-19 ”

Along with the song, a video clip has also been released, shot in the city of Santiago de Los Caballeros, Dominican Republic, directed by Kelvin J Bido and in which some twenty (20) “warriors” appear as protagonists, whose testimonies have been growth and blessing for many people.

The single and the video are now available on the YouTube and Spotify digital platforms, as well as on the Ministry’s social networks (@alfareros).

Alfareros - Guerreras — Alfareros lanza Guerrera integrantes

Alfareros, directed by Junior Cabrera. Its vocalists are Katia del Cid (Guatemala), María Fernanda Wilches (Colombia), Oscar Roque (El Salvador) and the Dominicans Felina Tejada, Artemio Vargas and Fermín Amador.

They were winners of the Casandra Award 2005 from the Association of Art Chroniclers of the Dominican Republic as Religious Association of the Year and the Latin GRAMMY® 2018 for their production “70 times 7”.

They are the first and only Christian group to perform a full house concert at the Altos de Chavón Amphitheater with the concert “A Chavón for you” in 2005. This concert was also nominated at the 2006 Casandra Awards in the Concert of the Year category: first time for a religious concert.

Throughout their career they have performed in mass meetings and concerts throughout the Dominican geography, as well as in the United States, Mexico, Colombia, Panama, El Salvador, Nicaragua, Puerto Rico, Guatemala, Ecuador, Peru. They were also part of the artistic attractions of the World Youth Days in Sydney (Australia), Rio de Janeiro (Brazil) and Panama.

The musical productions they have are: Un Canto Nuevo (1995); Do what He tells you (1997); Pa’Lante (2000); The Day Has Come (2004); From Blessing to Blessing (2008); All my Love is For You (2011); 70 times 7 (2018).

All are available for free download on their web portal www.alfareros.do

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Mark Weinstein Flutist, composer and arranger

North America / United States / New York

With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn where he was raised.

Between then and age 14 when he started to play trombone in Erasmus Hall High School, he tried clarinet and drums. Playing his first professional gig on trombone at 15, he added string bass, a common double in NYC at that time.

Mark learned to play Latin bass from Salsa bandleader Larry Harlow. He experimented playing trombone with Harlow’s band and three years later, along with Barry Rogers, formed Eddie Palmieri’s first trombone section, changing the sound of salsa forever.

With his heart in jazz, Weinstein was a major contributor to the development of the salsa trombone playing and arranging. He extended jazz attitudes and techniques in his playing with salsa bands.

His arrangements broadened the harmonic base of salsa while introducing folkloric elements for authenticity and depth.

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn — Mark Weinstein Flutist, composer and arranger

The only horn in a Latin jazz quintet led by Larry Harlow in the jam session band at the Schenks Paramount Hotel in the Catskills

The only horn in a Latin jazz quintet led by Larry Harlow at the jam session band at Schenks Paramount Hotel in the Catskills, soloist and arranger with Charlie Palmieri in the first trumpet and trombone salsa band in NYC, arranger and featured soloist along with the great Cuban trumpet player Alfredo Chocolate Armenteros in Orchestra Harlow, and with the Panamanian giant Victer Paz in the La Playa Sextet, and with the Alegre All Stars, Mark’s playing and arranging was a major influence on Salsa trombone and brass writing in the 60s and 70s.

Mark Weinstein continued to record with Eddie Palmieri, with Cal Tjader and with Tito Puente. He toured with Herbie Mann for years, played with Maynard Ferguson, and the big bands of Joe Henderson, Clark Terry, Jones and Lewis, Lionel Hampton, Duke Pearson and Kenny Dorham. In 1967 he wrote and recorded the Afro-Cuban jazz album, Cuban Roots for the legendary salsa producer Al Santiago.

It revolutionized Latin jazz; combining authentic folkloric drum ensembles with harmonically complex extended jazz solos and arrangements. Chick Corea was on piano and the rhythm section included the finest and most knowledgeable Latin drummers: Julito Collazo, Tommy Lopez Sr. and Papaito (timbalero with La Sonora Matancera).

El único cuerno en un quinteto de jazz latino liderado por Larry Harlow en la banda de jam session del Hotel Schenks Paramount en los Catskills, solista y arreglista con Charlie Palmieri en la primera banda de salsa de trompeta y trombón en NYC, arreglista y solista junto con el gran trompetista cubano Alfredo Chocolate Armenteros en Orchestra Harlow, y con el gigante panameño Victer Paz en el Sexteto de la Playa, y con los Alegre All Stars, el hecho de que Mark tocara y arreglara fue una gran influencia en la escritura del trombón de salsa y los metales en los años 60 y 70.

Mark Weinstein continuó grabando con Eddie Palmieri, con Cal Tjader y con Tito Puente. Hizo giras con Herbie Mann durante años, tocó con Maynard Ferguson y con las grandes bandas de Joe Henderson, Clark Terry, Jones y Lewis, Lionel Hampton, Duke Pearson y Kenny Dorham. En 1967 escribió y grabó el álbum de jazz afrocubano Cuban Roots para el legendario productor de salsa Al Santiago.

Revolucionó el jazz latino, combinando auténticos conjuntos de tambores folclóricos con solos y arreglos de jazz extendido armónicamente complejos.

Chick Corea tocaba el piano y la sección rítmica incluía a los mejores y más conocedores bateristas latinos: Julito Collazo, Tommy López Sr. y Papaito (timbalero de la Sonora Matancera).

A principios de los 70 Mark se tomó un tiempo libre de la música para obtener un doctorado en filosofía con una especialización en lógica matemática.

Se convirtió en un profesor universitario y sigue siéndolo hasta el día de hoy. Cuando regresó a la escena musical en 1978 tocando la flauta, escribió produjo y grabó las Suites de los Orishas con la cantante Olympia Alfara, el gran pianista de jazz colombiano Eddy Martínez y los percusionistas Steve Berrios, Julito Collazo, Papaito y Papiro junto con un coro afrocubano. Inédito hasta hace poco, la música de las Suites de los Orishas se convirtió en el tema del Sunday Salsa Show de Roger Dawson en WRVR.

Mark Weinstein volvió al jazz con una venganza, trabajando en conciertos y grabando más de una docena de CDs desde 1997.

Seasoning, su primer CD de flauta experimentó con diferentes escenarios para la flauta, incluyendo un cuarteto con el vibrafonista Bryan Carrott y Cecil Brooks III en la batería y un trío de flauta y dos guitarras con Vic Juris y Rob Reich.

En 1998, Mark grabó Jazz World Trios con el maestro guitarrista brasileño Romero Lubambo y el premiado percusionista Cyro Baptista.

Su exploración de temas brasileños con guitarra clásica y percusión contrastaba con un trío de freebop con Santi Debriano en el bajo y Cindy Blackman en la batería.

Jean Paul Bourelly y Milton Cardone completaron el conjunto con música basada en temas de santería.

El lanzamiento de Three Deuces en 2000, emparejó a Mark con los guitarristas Vic Juris, Ed Cherry y Paul Meyers.

Mark continued to record with Eddie Palmieri, Cal Tjader and Tito Puente — With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging – Mark Weinstein

Because of limited distribution and more demand that albums available, Mark rerecorded the material from the original Cuban Roots with new arrangements and the help of such giants of Cuban music as pianist Omar Sosa, percussionists Francisco Aquabella, Lazaro Galarraga, John Santos, Jose De Leon, and Nengue Hernandez. It was co-produced with his nephew, trombonist, violinist and arranger Dan Weinstein for Michael McFadin and CuBop Records.

In 2002 Mark had the incredible opportunity to go to Kiev, Ukraine, where his father was born, to record the music of the Ukrainian composer Alexey Kharchenko. Milling Time, the record that they made, stretched his playing in a number of directions, from modern classical music to smooth jazz to Ukrainian folk music.

He continued his exploration of his roots with a jazz album of Jewish music with Mike Richmond on bass, Brad Shepik on guitar and Jamey Haddad on drums and percussion.

He then turned to Brazil and the music of Hermeto Pascoal’s Calendario do Som, entitled Tudo de Bom with guitarist and vocalist Richard Boukas, Nilson Matta on bass, Paulo Braga on drums and Vanderlei Pereira on percussion.

In 2005 he began his ongoing association with Jazzheads record recording another version of Cuban Roots called Algo Más, with Jean Paul Bourelly playing electric guitar, Santi Debriano on bass, Thelonious Monk award winning percussionist and vocalist Pedrito Martinez, as well as Nani Santiago, Gene Golden and Skip Burney on congas and batá drums.

His next release on Jazzheads was O Nosso Amor with Brazilian jazz masters Romero Lubambo, Nilson Matta and Paulo Braga along with percussionists Guilherme Franco and Jorge Silva.

In the early 1970s Mark took time off from music to pursue a doctorate in philosophy with a specialization in mathematical logic. — Mark Weinstein He became a university professor and continues to be one to this day

This was followed by Con Alma, a Latin Jazz album featuring Mark Levine on piano, Santi Debriano on bass, Pedrito Martinez playing conga and drummer Mauricio Hererra.

Next a straight-ahead album, Straight No Chaser, with guitarist Dave Stryker, bassist Ron Howard and Victor Lewis on drums. A return to Brazilian music, Lua e Sol, saw Romero Lubambo and Nilson Mata joined by award winning percussionist Cyro Baptista

Mark Weinstein took time out from Jazzheads to record an album for Otá records in Berlin with Grammy nominated pianist Omar Sosa playing vibes, marimbas and piano along with Ali Keita on balafon, Mathais Ogbukoa and Aho Luc Nicaise on African percussion, bassist Stanislou Michalou and Marque Gilmore on drums. Back to Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, joined by Roman Diaz with the young giants Axel Laugart on piano and bassist Panagiotis Andreou. This was followed by Jazz Brasil with NEH Jazzmaster Kenny Barron on piano along with Nilson Matta and drummer Marcello Pellitteri.

His most recent album, El Cumbanchero was recorded with a string ensemble and arranged by Cuban piano virtuoso Aruán Ortiz, along with Yunior Terry on bass and percussionists Mauricio Herrera and Yusnier Bustamante.

Next up is an album of tangos with GRAMMY and Latin GRAMMY nominee, bassist Pablo Aslan, and featuring Latin GRAMMY winner Raul Jaurena playing the bandoneon, pianist Abel Rongatoni and guitarist Francisco Navarro. And many more surprises to come.

Mark took time from Jazzheads to record an album for Otá records in Berlin with Grammy-nominated pianist Omar Sosa — Back at Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, along with Roman Diaz with young giants Axel Laugart on piano and bassist Panagiotis Andreou

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Jimmie Morales a conguero for the history of Afro-Caribbean music

Jimmie Morales was born in Bridgeport, Connecticut to Puerto Rican parents

Jimmie Morales was born in Bridgeport, Connecticut to Puerto Rican parents.

He spent his early childhood listening to American popular music on the radio, and it wasn’t until 1967, when his family moved to Puerto Rico, that he became fascinated with Caribbean music, especially the salsa genre.

Jimmie’s first foray into music was with the guitar, but his father gave him a bell and, later, a conga drum that would become his main artistic fascination.

He learned of his interest by listening to Cuban, Puerto Rican and New York salsa records; also to congueros such as Milton Cardona, Eddie Montalvo, Patato Valdés, Cándido Camero, Mongo Santamaría, Johnny Rodríguez and his favorite: the late Ray Barretto.

In a very short time, he found himself making inroads with local bands, and sharing his talent with the renowned singer Tito Allen.

Jimmie Morales' memoirs Mr. Slap — Jimmie Morales Mr. Slap

Jimmie Morales and his experience with Willie Rosario

In 1978, Jimmie joined the popular rhythmic band of maestro Willie Rosario, and for eight years obtained what he considers his best formal training in the music industry.

Concurrently, he began an impressive career as a top-level studio musician, achieving outstanding participation in performances by the most important artists of the salsa genre, including Marc Anthony, Gilberto Santa Rosa, Roberto Roena, Oscar D’León, Lalo Rodríguez, Eddie Santiago and Frankie Ruiz, with whom he collaborated on each and every one of his solo recordings.

The sound of this great percussionist, his impeccable rhythm and his solid accompaniment defined him and have placed him convincingly as one of the most influential congueros of the last 30 years.

As if that were not enough, this talented conguero enjoys the genuine respect and appreciation of the Puerto Rican people and salsa connoisseurs worldwide — Jimmie has also accompanied great artists such as Willie Colón, Ismael Miranda, Tito Nieves, Juan Luis Guerra, Grupo Niche and Jerry Rivera

Trajectory with Gilberto Santa Rosa

In 1986, he joined a young Gilberto Santa Rosa, who had left Mr. Willie Rosario’s band to become the most prolific salsa singer in the last 25 years.

Since then he has traveled throughout the Americas, Europe, Japan, Taiwan and South America offering percussion workshops and accompanying different artists in a consistent and successful career as a percussionist. Jimmie Morales has also accompanied great artists such as Willie Colón, Ismael Miranda, Tito Nieves, Juan Luis Guerra, Grupo Niche and Jerry Rivera, among others.

He is currently promoting his line of congas sponsored by the Remo Company. As if that were not enough, this talented conguero enjoys the genuine respect and appreciation of the Puerto Rican and Latin American people. His humility, his affable treatment and his charisma, together with his musical virtuosity, make him worthy of an indisputable place in the history of salsa.

In 1986, he joined a young Gilberto Santa Rosa, who had left Mr. Willie Rosario's band to become the most prolific salsa singer in the last 25 years. — Jimmie Morales is currently promoting his conga line sponsored by the Remo Company

Since then, he has traveled throughout the American continent, Europe, Japan, Taiwan and South America offering percussion workshops and accompanying different artists in a consistent and successful career as a percussionist.

Jimmie has also accompanied great artists such as Willie Colón, Ismael Miranda, Tito Nieves, Juan Luis Guerra, Grupo Niche and Jerry Rivera, among others. He is currently promoting his line of congas sponsored by the Remo Company.

As if that were not enough, this talented conguero enjoys the genuine respect and appreciation of the Puerto Rican people and of salsa connoisseurs worldwide. His humility, his affable treatment and his charisma, together with his musical virtuosity, make him worthy of an indisputable place in the history of salsa.

A conguero for history Jimmie Morales’ memoirs

“Mr. Slap”

Bella Martínez (Author)

That originality of Willie Rosario must have influenced Jimmie's impeccable style. — Jimmie paid for the luck that accompanied him at that crucial moment with an immense dose of vocation.

When all the congueros were imitating the king of the hard hands, Ray Barreto, Jimmie manages without intending to be the one chosen by the master Willie Rosario to accompany with the conga the tuning that Rosario had already established.

That Willie Rosario originality must have influenced Jimmie’s impeccable style.

Let’s not forget that when all timbaleros were imitating maestro Tito Puente, that irreverent coameño – maestro of maestros Willie Rosario knew how to be original.

Jimmie repaid the fate that accompanied him at that crucial moment with an immense dose of vocation.

And that stroke of luck in the leather didn’t manage to erase the humility of his being.

I invite you to read what I have managed to compile about Jimmie Morales, whom, with your authorization, I show in this work that pretends to be a summary of the life and work of this incredible musician.

Here you will also see that in spite of his perennial shy smile, his hands of stone do not give a break nor allow tropical music to ignore his monumental influence.

Jimmie, the human being who communicates through the leather of his conga, presents us with the musical strength he continues to share with the world. I am deeply grateful for the introspection and candor of his testimony.

I recognize that I am fortunate that Jimmie has agreed to give me part of his voice and to perpetuate this story. I insist that it was a sin not to share this legacy before, but now it was Mister Slap who beat the drum.

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