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Search Results for: Latin

“Orquesta Zodiac” Its name came about due to the fact that in the early 70’s the ‘Walter Mercado’ program and the Zodiacal Signs were all the rage

In June 1971 what we know today as the Zodiac Orchestra was organized in the town of Loíza. Its name came about due to the fact that in the early 1970’s the Walter Mercado and the Zodiacal Signs program, which was broadcast on Channel 2 in Puerto Rico, was in vogue.

Tony Escobar’s uncle (the orchestra’s declamationist) suggested the name because it was an eye-catching and “new” name.

The Zodiac Orchestra was organized with members of a group called Loíza Power directed at that time by Paquito Pérez, who was 14 years old. In addition, it was nurtured with the best musicians of Loíza Sound of Javier Calcaño.

“Orquesta Zodíac” Su nombre surgió debido a que para principios de la década del '70 estaba de moda el programa de “Walter Mercado” y los Signos Zodiacales
“Orquesta Zodíac” Su nombre surgió debido a que para principios de la década del ’70 estaba de moda el programa de “Walter Mercado” y los Signos Zodiacales

The idea of recruiting these musicians was Paquito’s, since he grew up with José Luis Vizcarrondo and Tony Escobar.

Through Loiceño composers Carlos José Cirino (Tata) and Floren Ayala, the recording was achieved, as they approached Dario Gonzalez of Borinquen Record who contributed to make possible the release of the first 45 and LP. Tata’s “El Adiós” and José Feliciano’s “Las Costumbres” (1971) were part of this musical proposal that was very well received by the public.

This album became one of the best selling LPs. Other musical proposals of the group that would become hits were: “Panteón de Amor”  by Angel Laureano (1973), “Sinceridad” by Samuel Cirino, “Mi Guitarra” by Angel Laureano, among others. These great hits are frequently requested today on the Salsa Z-93 radio station.

After the initial success, many of the musicians dedicated themselves to work and to finish their studies, since they were married and were looking for security and economic stability for their respective families.

The Zodiac had the opportunity to travel to different cities in the United States such as: Boston, Connecticut, Philadelphia, New York, among others. They also traveled to other countries such as Colombia and others.

Orquesta Zodiac
Orquesta Zodiac

During these years, several orchestras were at their peak, such as: La Fania, La Selecta, Lebron Brother, La Corporación Latina, El Gran Combo, La Lupe, Chivirico Davila, Bobby Valentín, Tomy Olivencia, Ismael Miranda, Ricardo Rey, Roberto Rohena, Roberto Anglero, Justo Betancourt, among others.

In 1997 Paquito decided to retake and regroup the orchestra, and for some years he dedicated himself to reunite with the musicians and organize them again.

In 1999 he managed to restart La Orquesta Zodiac at the Z-95 festival in Mayagüez. Later they performed at the National Salsa Day dedicated to Cheo Feliciano in 1998.

These two presentations were made at the invitation of Pedro Arroyo (director of Z-93) to Paquito, and were a great success. El Gran Combo, Rubén Blades, Jimmy Zabater, La Solución, among others, also played in the tribute to Cheo.

The members of the current orchestra are young, and most of them were music students of Paquito Pérez, who worked as a music teacher for 30 years in the town of Loíza (before retiring).

José Luis Vizcarrondo, Tony Escobar and Paquito Pérez were schoolmates for years. The director of the orchestra in the beginning was José Luis, also collaborating with him were Tony Escobar (saxophonist and declamation player), Freddy Ayala (conguero) and Paquito Pérez (singer). All of them contributed ideas for the arrangements. Currently Víctor Pérez (Paquito’s brother) is the director of the wind section.

Orquesta Zodiac en el pueblo de Loíza
Orquesta Zodiac en el pueblo de Loíza

In 2010 the orchestra played in the National Salsa Day and in 2012 the orchestra played again in the same activity, but this time the activity was dedicated to La Orquesta Zodiac and La Corporación Latina. In which Z-93 gave them a well-deserved recognition and Paquito, José L, Tony, Tata, Laureano, and the rest of the new members of the orchestra were present.

Currently the orchestra meets periodically to practice, and are available for all kinds of activities.

Did you know that…! In June 1971 what we know today as the “Zodiac Orchestra” was organized in the town of Loíza in Puerto Rico. Its name came about due to the fact that in the early 70’s the program “Walter Mercado” and the Zodiacal Signs, which was broadcasted on channel 2 in Puerto Rico, was in fashion. Tony Escobar’s uncle (declamationist of the orchestra) suggested the name because it was a striking and “new” name …Referring to the image of the post belongs to the second production of this Puerto Rican group entitled “Spiritual Beauty Vol. II” published in 1973 under the label “Horóscopo Récord” and directed by the founder, arranger, pianist and saxophonist Mr. José Luis Vizcarrondo. It is worth mentioning that this production includes the classics: Montuno de Oriente, Vicio de Amor and Belleza Espiritual”. Another important fact about the group is that it is still in force with musicians of the new generation, but with the same Swing and musical concept.

Segunda producción de dicha agrupación boricua titulada “Belleza Espiritual Vol. II” publicada para el año 1973
Segunda producción de dicha agrupación boricua titulada “Belleza Espiritual Vol. II” publicada para el año 1973

It is worth mentioning that the main responsible for making Orquesta Zodiac publicly known in Venezuela, Latin America and the Caribbean was Mr. Ali Delgado. Mr. Ali Delgado, for the year 1985 under the record label Performance Records, Delgado comments in detail that for the date of publication of this production the only popular sector (neighborhood) of Caracas where the Zodiac Orchestra was known was in Pinto Salinas.

Orquesta Zodiac De José Luis Vizcarrondo
Orquesta Zodiac De José Luis Vizcarrondo

Delgado is a music producer, music lover, collector, director and founder of the projects Salsa de La Mata and Jazz con Clave in Caracas.

Dj. Augusto Felibertt y Ali Delgado
Dj. Augusto Felibertt y Ali Delgado

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

From Cuba El Septeto Son de Nipe come Abriendo Caminos (Opening Paths)

Son de Nipe. A musical septet born in the municipality of Antilla, it burst into the cultural world with an album of the In Situ label of the Colibri Record Production Company.

Antilla is the smallest municipality of the province of Holguin in Cuba and one of the smallest of Cuba, it was founded on January 21, 1925, it is famous from distant times for its beauty, legends and original aspect.

De Cuba El Septeto Son de Nipe vienen Abriendo Caminos
De Cuba El Septeto Son de Nipe vienen Abriendo Caminos

The group is formed by former musicians of the orchestra Brisas de Nipe of this municipality.

This project was born from the hands of Porfirio Núñez Cruz (Firo) who as Art Instructor at the Casa de Cultura Adelaida del Mármol of Antilla had experimented with other amateur groups, but not with the same results, because the members did not have the necessary musical training.

The album Abriendo Caminos includes 14 songs, 10 of which belong to Antillean authors.

“The value of Abriendo Caminos also lies in the fact that it helps Antillean composers and arrangers to open up to the recognition of their work and ways of doing things”.

From the singer and percussionist of the septet Son de Nipe, Alejandro Arencibia appears the guaracha Esa muchacha quiere bailar and the son, Honor al Guayabero; from Edalio Espinosa Alayo (Pupi), former member of the Brisas de Nipe orchestra, the son, Es caliente como el sol (It’s hot like the sun).

The songs A mi Antilla (bolero-son) and, Y no me niegues el beso (son) by José James Pinder, singer of the septet. By Oscar Fernández, former singer of the Brisas de Nipe Orchestra, the disc offers the themes Rebozo de amor (guaracha) and the son Que lástima.

Septeto Son de Nipe
Septeto Son de Nipe

From the director of the septet Son de Nipe Porfirio Núñez Cruz, Mi son tradicional.

And the guaracha Olvídate de esa nena by the Antillean composer Nemesio Palacio.

The remaining four musical numbers are; De que callada manera by Nicolás Guillén and Pablo Milanes, Culpable by Pepe Delgado, Rabo de nube by Silvio Rodríguez and Una alborada de amor by Ariel Dotres Zaldivar, these songs were arranged by Porfirio Núñez Cruz.

In the septet’s album Son de Nipe Abriendo Caminos “the guaracha, the bolero, the bolero-son and the genuine son are retaken with originality and revalued”.

The latter is due to the fact that the musical criteria followed by its director was the respect for traditional music, its deep knowledge, but imbuing it with very contemporary nuances, which results in a seal that distinguishes the septet Son de Nipe.

“We use the son, but more updated because we make innovations, harmonizing it in a more modern way, without losing its roots”.

The selection of the songs that made up the album Abriendo Caminos was in charge of the septet’s management, since the Casa Discográfica Colibrí wanted originality and the authentic exhibition of the work that has been developed with traditional music in the eastern part of the country.

Son Cubano de Nipe en Holguin
Son Cubano de Nipe en Holguin

The graphic image of the disc, worked in sepia and black colors fundamentally manage to set the atmosphere that is offered to us with a vintage flavor and invites us to listen to these 14 songs full of tradition and contemporaneity.

“It will be a delight for the listener and the dancer, the good function of the tres in its solos and “entregas”, the beautiful and ingenious introductions, the exquisite mixture between text and music of the boleros, the harmonic patterns of the soneros that not for conventional reasons give up a significant finish, without neglecting, on occasions, the voices replacing wind instruments”.

The selection of the members was meticulous. Porfirio had in his favor the prestige he possessed and the convening power among his former colleagues of the Orquesta Brisas de Nipe, so much so that in the list of his group he planned to include Reyes Cástulo Urgellés Fáez, better known as Lulú as bassist and José James Pinder (Joseíto) as singer, both retired from the Orquesta Brisas de Nipe and linked to the Casa de Cultura in occasional activities.

The septet still needed to be completed with a key piece, the tres, for which the prestigious Mario Arencibia Rodríguez, one of the best tres players in Antilla, was summoned.

In the Arencibia family, musicians abound, that is why the group was completed with them: Alejandro, singer and Rafael on the tumbadora.

Alejandro and Mario had been part of an amateur group called Renovación Antillana for more than 20 years, which was very famous in its time and where a great number of aficionados were formed.

Alejandro sometimes played the tres in other groups, but in Son de Nipe he remained as a singer, he also had a work relationship that did not allow him to devote himself entirely to music; His nephew, trained at the Casa de Cultura and under the musical influence of the family, had taken over the tumbadoras, so Rafael Arencibia was the youngest of the group, he was barely 25 years old and at this young age he had already played in several amateur groups and got the Brisa de Nipe orchestra out of trouble, due to the unexpected absence of its percussionist.

Rafael Arencibia Rodríguez joined the project with enthusiasm despite the fact that the genre and style of the repertoire were not those used by the amateur groups of his contemporaries.

Iro had obtained the desired musicians, but he still had a big step to climb, his musicians were not professionals, they all had work commitments and he needed to prepare the project for the right day…(ecured).

 

Septeto Son De Nipe – Abriendo Caminos (2006)

Temas:

  1. Esa Muchacha Quiere Bailar (Alejandro Arencibia)
  2. Es Caliente Como El Sol (Edalio Espinosa Adayo)
  3. A Mi Antilla (José James Pinder)
  4. Rebozo De Amor (Oscar Fernández Paz)
  5. De Qué Callada Manera (N. Gillén / Pablo Milanés)
  6. Honor Al Guayabero (Alejandro Arencibia)
  7. Culpable (Pepe Delgado)
  8. Mi Son Tradicional (Porfirio Núñez Cruz)
  9. Y No Me Niegues el Beso (José James Pinder)
  10. Clodomiro (Oscar Fernández Paz)
  11. Rabo De Nube (Silvio Rodríguez)
  12. Qué Lástima (Oscar Fernández Paz)
  13. Una Alborada De Amor (Ariel Dotres Zaldívar)
  14. Olvídate De Esa Nena (Nemecio Palacio)
Septeto Son De Nipe - Abriendo Caminos (2006)
Septeto Son De Nipe – Abriendo Caminos (2006)

 

Research Sources:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Virgilio Martí was an excellent rumbero and composer of the classic “Cuba Linda” where he was vocalist and percussionist in Grupo Folklorico Experimental Newyorkino

Charlie Haden was an extraordinary double bassist and composer who was a key figure in the history of modern jazz.

Double bassist and composer extraordinaire, Charlie Haden (Shenandoah, Iowa, August 6, 1937 – Los Angeles, California, July 11, 2014).

Charlie Haden began his professional activity in 1959 with Ornette Coleman’s quartet, a key figure in the history of modern jazz, and very soon began to investigate in that direction that Coleman initiated known as free jazz.

In that context, Charlie Haden participated in the recording baptism of that movement with the album recorded on May 22, 1959 for the Atlantic label and entitled: “The Shape of Jazz to Come” with the invaluable collaboration of Don Cherry, another incomparable musician and leader together with Coleman of that revolutionary musical movement that still lasts today.

Charlie Haden (August 6, 1937- July 11, 2014)
Charlie Haden (August 6, 1937- July 11, 2014)

Charlie Haden in 1960 participated with another double bass player, Scott LaFaro in an operatic manifesto entitled: “Free Jazz” of whom both were distinguished representatives in their instrument.

In 1964 he worked with Denny Zeitin’s trio and in 1966 he returned with Ornette Coleman while expanding his performance area with collaborations left and right.

In these areas he stood out for his participation in the work, studio and recording meetings of the “Jazz Composer’s Orchestra” and in 1969 he was finally able to realize a wish he had been pursuing for years: to record his first album under his own name with the Liberation Music Orchestra.

With original arrangements by Carla Bley, the music of the Liberation also stood out for the political character of the songs, being the first time that, in that context, a jazz group echoed the popular songs alluding to the Republican side of the Spanish Civil War.

After the album recorded by Impulse in 1976 entitled: “Song for Che” in homage to Ernesto Che Guevara, Charlie Haden formed with Don Cherry, the quartet “Old and New Dreams” with which he toured throughout Europe, Asia and North America. At the end of the eighties, Charlie Haden elaborates a new musical discourse within the framework of his new formation entitled “Quartet West”.

The founding album of this new discourse was an extraordinary album generically entitled “Quartet West”, a musical manifesto of great beauty and one of the essential albums of contemporary jazz. From 1990 onwards, Charlie Haden explores more intimate jazz universes, introducing the duo format into his discourse.

Charlie Haden
Charlie Haden

In this context, the musician explores himself in the composition and his relaxation together with the other protagonist discovers us a music of great inventiveness, clean in the execution and approached from a purely instrumental point of view.

This is how on Thursday, November 14, 2002, Charlie Haden appears in Seville at the Central Theater with the master of the guitar, Jim Hall to offer a portentous concert, full of sensitivity, art and talent.

Fortunately Apoloybaco was present that magical night in Seville and Charlie Haden is still making music of the highest level. ~ (apoloybaco)

Charlie Haden teams up again with the young Cuban pianist Gonzalo Rubalcaba in this melancholic and relaxing album. Ignacio Berroa on drums and percussion completes the main trio.

Special guests include tenor saxophonists Joe Lovano and David Sánchez, violinist Federico Britos Ruiz and guitarist Pat Metheny (one track only).

Charlie Haden photo 1978 Roger Ressmeyer
Charlie Haden photo 1978 Roger Ressmeyer

Rubalcaba contributes orchestrations on two tracks, both of which omit drums and percussion. Haden’s intention is to explore the bolero, a distinctive Latin dance rhythm that Ignacio Berroa accentuates with a soft, subtle snare drum roll, played with brushes, that begins on the “y” of the first beat of the measure and ends on the second.

This rhythm is perfect for a slow dance and, in fact, the whole album is very romantic, with bittersweet melodies and lilting cadences.

The only problem is that Berroa’s bolero figure is present on almost every track, perhaps what you would expect from a bolero album, but there is no getting around the fact that the music sounds pretty much the same on every track.

 (To be fair, Berroa is not the only one guilty of uniformity.) Most of the songs, except for two Haden originals and one by Rubalcaba, are Cuban and Mexican standards, and they are beauties. Haden’s reluctance to mess with them is understandable.

Charlie Haden fue un gran padre.
Charlie Haden fue un gran padre.

But the arrangements, always straightforward, fade too easily into the background.

Nocturne may be the best music for a candlelit dinner party, but Haden and his guests are capable of much more.  David R. Adler.

Charlie Haden – Nocturne (2001)
Temas:
01. En La Orilla Del Mundo (At The Edge Of The World) (Martin Rojas)
02. Noche De Ronda (Night Of Wandering) (Maria Teresa Lara)
03. Nocturnal (Sabre Marroquin/José Mojica)
04. Moonlight (Claro De Luna) (Charlie Haden)
05. Yo Sin Ti (Me Without You) (Arturo Castro)
06. No Te Empeñes Mas (Don’t Try Anymore) (Marta Valdès)
07. Transparence (Gonzalo Rubalcaba)
08. El Ciego (The Blind) (Armando Manzanero)
09. Nightfall (Charlie Haden)
10. Tres Palabras (Three Words) (Osvaldo Farrès)
11. Contigo En La Distancia·En Nosotros (With You In The Distance·In Us) (Cèsar Portillo De La Luz/Tania Castellanos)

Músicos:
Charlie Haden (Bajo)
Gonzalo Rubalcaba (Piano, Orquestación)
Ignacio Berroa (Percusión, Batería)
Joe Lovano (Saxo tenor en temas #1, #4, #7, #11)
David Sánchez (Saxo tenor en temas #6, #10)
Pat Metheny (Guitarra acústica en tema #2)
Federico Ruiz (Violín en temas #1, #5, #8)

Grabado del 27 al 31 de agosto de 2000 en Criteria / The Hit Factory Studios, Miami, FL.

Charlie Haden - Nocturne (2001)
Charlie Haden – Nocturne (2001)

Research Sources:

L’Òstia Latin Jazz

Dj, Augusto Felibertt

Also Read: Andy Gonzalez started as a musician at the age of 13 in the Latin Jazz Quintet in New York

ISM presents 2 Venezuelan DJ with a great passion for Salsa

Latin America / Venezuela / Caracas

DJ Katiuska Oropeza

Katiuska Oropeza. Born in Caracas, the capital of salsa in Venezuela, currently based in the Carabobo State, Valencia – Venezuela.

DJ Katiuska Oropeza
DJ Katiuska Oropeza

He mentions “My passion for salsa began at the age of 3, influenced by my father who was a great connoisseur of this genre and at the age of 7 I already wanted to learn to play the timbal since I love percussion.

Over the years and by chance I got to know the salsa movement produced by a number of virtual collection salsa stations where a number of music lovers gather to enjoy and keep alive what is the essence and basis of salsa, I become passionate and I begin an incredible learning about everything that Venezuelan salsa is and that is when I become a programmer for the pioneering station on the Internet called www.rumbayguateque.com through this I was the representative in Venezuela of Mr. Alfredo Maleta Torres, the last singer who had the Joe Cuba sextet.

Today I try to spread the little that I have learned from this genre that has an endless history and from time to time participating as a musicalizer in different salsa events.” “Long live salsa forever.”

DJ Jaime Guanipa

During his interview on La Maceta radio conducted by me, Jaime mentioned that he was born in December 1966 in Caracas Venezuela, a native of Sarria belonging to the La Candelaria parish, where he grew up in two aspects in his early years, between Sarria and Alta Vista. in Catia parish Sucre also in Caracas.

His first tangible experience within Latin music called “SALSA” was thanks to the Venezuelan “PHIDIAS DANILO ESCALONA” who gave him this label that has immortalized the genre, and for Jaime’s memory it was in 1973 with the premiere of the movie “Nuestra Cosa Latina” and The SALSA Movie in different theaters in Caracas, and through its soundtrack I was shocked, and began to develop a definitive taste within the musical field, nurturing and wanting to be more extensive…

In this way, through the years, I achieved a broader knowledge within the Latin American culture, where it was enriched by absorbing like a sponge everything related to the environment and listening to Radio where they moderated great knowledge to which I can name our Venezuelans and connoisseurs. and moderators in different Radio stations in Modulated Amplitude for the time in Caracas such as Phidias Danilo Escalona, ​​Floro Manco, Enrique Bolívar Navas, Héctor Castillo, Rafael Rivas, among other great broadcasters, achieving a very solid understanding within the majesty of salsa , but…

DJ Jaime Guanipa
DJ Jaime Guanipa

As of 1979 he has the concern to share and listen to the coarsest of our Latin music, beginning with family parties and friends, then he made comments and selected music from the acetate discs that were in said meetings, being this a cult and from 1982 he defined himself as a DJ. Salsero, enriching the technology and the true art of the moment, which is research, the study of the genre and the credits of his albums that logically were and are in LP format.

Generating in this way a breeding ground for experimentation and musical selection, it is from this moment referring to the date in which his experience and exchange of criteria between friends who throughout these years have followed and accompanied him within this passion, having successes as Salsero Musicalizer in extinct venues in the city of Caracas for the years 1985 to 1990, was triggered.

Later, in 1993, he temporarily retired due to family responsibilities, but without ever abandoning my passion for music and genre research both here in my country Venezuela and abroad, and in 2008, he decided to resume after a reasonable time. my most significant taste for salsa musicalization, already for the moment obtaining many valuartes but with its due time within the genre, evolving distinctively in terms of its versatility and exponents, highlighting that for me it is not a challenge since due to the concept earned and maintained has given me a preferential position within the taste of the salsero and the dancer that…

I call demanding, experience experience gained due to the fact that at the time I was surrounded by great friends who love the salsa genre that many of them share today, which is why and subscribed to current technology and its ease of access, it means that in a masterly way I can give the what the dancing public really wants and desires in each meeting, event and party, without a doubt, before it I expose an interactive referential synthesis of my time in this exciting world as it is and I define “Salsa musicalization in Caracas nightlife ”.

15 Panama Jazz Festival

Latin America / Panama / Panama

Once again, Panama makes its appearance beginning the year at the City of Knowledge and Casco Antiguo – Panama Jazz Festival in its 15th edition, thanks to the “Danilo Pérez” Foundation, where it gives us the opportunity to enjoy music in a healthy way, once again becoming the The largest Jazz stage in the Region, where musicians and fans from different countries such as Costa Rica, Colombia, Chile, USA, Mexico, among others, will participate from January 15 to 20.

15 Panama Jazz Festival
15 Panama Jazz Festival

Its director Danilo Pérez mentions “From the heart of America to the world” giving us a message, which is not just to make and carry out a festival but to show everyone his dedication worldwide by showing us his cultural project that consolidates creativity, exchange and talent. , with a strong commitment to Panamanian education and social welfare, returns with a strong artistic billboard.

Performing artists include the Wayne Shorter Quartet; Latin jazz legend Chucho Valdés; the Brazilian singer, Luciana Souza; the legendary American pianist, Ran Blake, the master composer and pianist, Bill Dobbins accompanied on stage by the Global Jazz Big Band and the Panamanian cumbia patrons, Samy and Sandra Sandoval. Not to mention that the musical billboard is also strengthened with the participation of Panamanian bassist Santi Debriano along with saxophonist Craig Handy, pianist Bill O’Connell and drummer Will Calhoun, as core members of this musical banquet.

Others that will perform are the Panamonk Revisited trio, made up of maestro Pérez together with the Grammy-winning percussionist, Terri Lyne Carrington and bassist Ben Street, who will share this celebration with other renowned ones such as the Italian saxophonist Marco Pignataro and his Almas Antiguas quartet, with the Panamanian saxophonist Carlos Agrazal as a special guest; the Panamanian saxophonist Luis Carlos Pérez, and the famous Pan-African Jazz Project, made up of the Chilean saxophonist Patricia.

Collash of the 15th Panama Jazz Festival
Collash of the 15th Panama Jazz Festival

Zárate Pérez, the Panamanian Luz Acosta (voice and bass) and Graciela Núñez (violin) and the Egyptian musicians Hesham Galal and Balquei.

The Global Stage will be back this year, which will be a stage to enjoy in style with bands from different latitudes such as Rubén Amador and Yahuba (Puerto Rico), The Shuffle Demons (Canada), Paulina Pérez and Luna Mestiza (Chile), Josean Jacobo & Tumbao (Dominican Republic), Marco Pignataro (Italy), Yogev Shetrit Trio (Israel), Fundación Armonía Colectiva (Costa Rica), Four On a Swing (India) and Shea Welsh (United States); and Panamanian talents German Pinzón Jiménez, Tambo Jazz Collective, Digger Descendants Calypso Band, Proyecto Shuruca and Pureza Natural.

In addition, there will be highly prestigious educational institutions, Berklee College of Music, Berklee Global Jazz Institute, New England Conservatory, Thelonious Monk Institute of Jazz, New York Jazz Academy and Crossroads High School, which offer great support every year.

And of the institutes that will be: Berklee Global Jazz Institute, New England Conservatory, Thelonious Monk Institute Of Jazz and New Yorl Jazz Academy.

Artists of the 15th Panama Jazz Festival
Artists of the 15th Panama Jazz Festival

And the schedule of activities to be carried out are:

Schedule of the 15th Panama Jazz Festival
Schedule of the 15th Panama Jazz Festival

One of the most important details of the festival is that auditions, countless educational clinics, as well as the VI Latin American Music Therapy Symposium, the I Classical Music Exchange Program and the II Symposium of Musical, Artistic and Cultural Expressions will be held. of Afro-descendants in Panama with the main theme El Calypso:

A unique Latin rhythm being known as an African and Afro-American music that began in Trinidad and Tobago, later being very popular in the highlands of Venezuela, San Andrés and Providencia in Colombia, Trinidad and Tobago, Puerto Rico and others from the Antilles, where they use instruments such as the stellpan (steel drums), trumpet, trombone, flute, Spanish guitar, electric bass, saxophone, congas, bongos, maracas. This rhythm varies depending on the country where it is performed, giving a unique touch to studying Calypso to all fans or interested in it.

For more information about the Festival, you can contact them through:

  • WebSite: http://panamajazzfestival.com/
  • Facebook: https://www.facebook.com/PanamaJazzFest/
  • Instagram: https://www.instagram.com/panamajazzfestival/
  • Twitter: https://twitter.com/PanamaJazzFesti
  • Email: [email protected]
  • Phone: +507 317-1466

 

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