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Search Results for: Legacy of Salsa

Sidney Poitier

The Golden Gentleman Of Hollywood

Face of Sidney Poitier
Sidney Poitier dropped out of school at 12 to help his parents support the home

Sidney Poitier, the Golden Gentleman of Hollywood, died six days after the start of 2022 (January 6th, 2022) at his home in Beverly Hills (Los Angeles – California) as a result of a combination of heart failure, Alzheimer, and cancer prostate (according to the death certificate obtained by the TMZ website). And although he is no longer with us on this earthly plane, at ISM wanted to pay a heartfelt tribute to this famous man on the Big Screen.

We can only start with how a Gentleman is identified. A man with this distinction is characterized by the behavior of absolute courtesy with the people around him, deep nobility regardless of gender, race, or creed, and exuberant distinction in any situation. Qualities that were always present in the behavior of one of the Afro-descendant men in Hollywood with values ​​and principles unalterable over time, we are referring to our Golden Gentleman of Hollywood, Sidney Poitier.

Sidney from his childhood in the Bahamas developed high self-esteem. He was not able to differentiate between skin tones, on the contrary, he only saw people with the same rights, duties, and obligations. That is why he was always ready to give his image and resources to the defense of civil rights on the big screen, as well as stand by the African-American political activist Martin Luther King and in turn, participate in peaceful demonstrations such as the Pilgrimage of Prayer for Freedom (1957) and the March for Jobs and Freedom on Washington (1963).

This actor and director was raised within a family and society where mutual respect, great affection, integrity, and laughter were the premises. These teachings nurtured his life and helped him translate into each of the characters he played in the mecca of cinema.

His multiple characters reflected the kindness, sacrifice, dignity, and greatness of human life, thus leaving an extensive cinematographic legacy with more than 50 films since 1950.

Barack Obama, Sidney Poitier, Michelle Obama
Ex-President Barack Obama presented the Presidential Medal of Freedom (August 12th, 2009) to Sidney during a White House ceremony.

His physical departure has been the center of great posthumous recognition by the industry, such as the cases of Denzel Washington (actor), Oprah Winfrey (writer and television presenter), Lupita Nyong’o (actress), and many more representatives of the Afro-American community living in the United States.

“Through his groundbreaking roles and singular talent, Sidney Poitier epitomized dignity and grace, revealing the power of movies to bring us closer together. He also opened doors for a generation of actors. Michelle and I send our love to his family and legion of fans.” Farewell words from ex-President Barack Obama through his Twitter account.

6 Emblematic Movies Of Poitier

Sidney Poitier never really wanted to be an actor. The truth is that at the age of 15 he didn’t know how to read well either. Words made up of more than three syllables were quite a challenge, and every time he had to read them, he got a feeling of defeat.

So, how did Sidney get into acting? The answer is by accident during his stay in New York City. In his search for a job as a dishwasher, he came across an advertisement that powerfully caught his attention and said “Actor Wanted” and although Sidney did not know what that job was about, he decided to attend the casting with gallantry.

Sidney Poitier in Black and White in NYC
Poitier bought a true confession magazine for ladies and memorized two paragraphs to audition at the American Negro Theater

That day two stories converged. The first was the impetus of creating a fruitful career in acting, while the second story is the narration of the moment when this actor with entrenched convictions felt deeply offended as never before in his life.

Poitier auditioned but due to his poor reading skills, acting, Caribbean accent, and skin color, Sidney was disrespectfully kicked out. He was held by his coat collar and pants belt and thrown into the street. The words of that man were “You can’t read, you can hardly speak, and you have that accent… Why don’t you go find a job as a dishwasher?”

That day was one of intense reflection for the golden gentleman of Hollywood. Walking down Lenox Avenue, he thought about what happened, and his indignation at that situation that he constantly remembered led him to make the best decision of his life, Sidney chose to be an actor! His choice was based on his love for himself. His thought was that he was worth more than the perception that that man had of him, and once he managed to prove it to him, he would leave that profession, and that’s how this magical journey began…

His induction studies in the performing arts began in the American Negro Theater located in Harlem (NYC). Here, he offered his job as a janitor in exchange for his acting training. After not-so-pleasant experiences, he could be the substitute for the main role of the plot of the work. And on the day of the premiere Sidney had to play the leading role because the main actor (Harry Belafonte) could not attend. In that unique moment, the son of tomato farmers from the Bahamas was able to demonstrate the meaning of perseverance, determination, effort, and with his brilliant talent, he was able to captivate all attendees. Since then, job offers in acting for Sidney began to arrive.

Sidney Poitier sitting in a Red Armchair during the filming of a scene
“I can’t represent a scene that I don’t find the texture of humanity in the material.” Sidney Poitier

His first professional job was on Broadway in the classic play Lysistrata (a Greek comedy) in 1946. This was followed by the play Anna Lucasta and later his film debut in No Way Out in 1950.

A narrative that is based on the medical assistance to an intolerant Caucasian criminal by a doctor of color (Dr. Luther Brooks) played by Sidney. Poitier’s first film role broke Hollywood’s established stereotypes for African-American actors, while this film was the first to directly address racism.

“My Values ​​are not disconnected from the values ​​of the black community, so I go in front of the camera with a responsibility to be respectful…” Sidney Poitier

Blackboard Jungle (1955). This film struck the social chord of an educational system and helped revolutionize Rock and Roll music in a soundtrack for a big-budget movie. With this performance, Poitier was full of praise for his participation in the secondary role as Gregory Miller, a troubled student who decides to stay in school.

Three years later comes The Defiant Ones (1958) and with it his first nomination for the Academy Awards. This dramatic film had its center in racial harmony. Two shackled fugitives, John “Joker” Jackson (Tony Curtis) and Noah Cullen (Sidney Poitier), escape from the prison truck. As they try to evade the police, they overcome their racial prejudices.

In 1963 the film would come that changed the life of this actor born at seven months in Miami and raised in Nassau (Bahamas), Lilies of the Field. This cinematic drama dives into Faith and is about an ex-soldier (Homer Smith) played by Sidney, who is persuaded by an order of nuns to do farm work and build a chapel. During the process, Smith earns the respect and admiration of all. This leading role brought Poitier his first Oscar, and he thus became the first black man to receive this award for Best Actor in 1964.

“What the character was doing was exhibiting a vast sense of self and the wonders of being alive. The wonders of being a Human and the responsibilities…” Sidney stated in an interview conducted by the Academy of Achievement in 2014.

Sidney Poitier dressed in a suit with the Oscar in his hand
Oprah Winfrey will make a film about the life of Hollywood’s Golden Gentleman, Sidney Poitier

It was followed in 1967 by In the Heat of the Night. This film also starred the winner of the Honorary Oscar in 2002. The plot deals with the resolution of a crime in a small town in Mississippi. Here, the police chief of the southern place decides to interrogate the only African-American man who was traveling as a foreigner through the city. Sidney played this character, but this outsider was a detective from Philadelphia. This film won the Oscar for Best Picture in 1968.

“When I read the script I told the producer (Walter Mirisch – very close friend) I can’t play this. In the scene, this guy comes up to me and slaps me and I glare at him and walk away… I can’t do that because the human responses that would be natural in those circumstances we’re suppressing serve the values ​​of greed on the part of the acquiescence of Hollywood. You certainly won’t do it with me. Not only will I not, but I will respond as a human being would naturally respond. It blows me up and I’ll blow it back up and you have to put it in writing.” Sydney anecdote. So, it was!

The last milestone that Poitier marks that same year is in the story of Guess Who’s Coming to Dinner? This film is a family drama that involves racial tolerance. The story is based on an African-American doctor who travels to meet his in-laws, unleashing a series of intra-family conflicts associated with racial stigma. The actors who performed the main characters are Katharine Hepburn (Christina Drayton), Spencer Tracy (Matt Drayton), Sidney Poitier (John Prentice), and Katharine Houghton (Joey Drayton). This film breaks the discriminatory social barrier towards people of color, as Sidney becomes the first African-American man to kiss a white woman on the big screen.

Sidney Poitier was also a producer and director from the late 1970s. He was born unusually while his parents were on a business trip from the Bahamas to Miami (FL). His parents were dedicated to the cultivation of tomatoes and later sold them. In one of those trips to sell the agricultural product, Sidney’s mother (Evelyn) broke her waters at seven months of gestation and gave birth to Sidney (her last-child) in the African-American section through a midwife from the North American city, for there were no hospitals for colored people.

Sydney Tamiia (Daughter), Sidney Poitier, Joanna Shimkus (Wife), and Anika (Daughter)
Sydney Tamiia (Daughter), Sidney Poitier, Joanna Shimkus (Wife), and Anika (Daughter)

The life of this Golden Gentleman of Hollywood is an example of integrity, values, ​​and effort. He learned to read while working as a dishwasher in a restaurant in Queens (NYC) with lessons from a Jewish waiter every night after work. He opened the doors for new African-American movie stars. He broke down social stigmas that fit with the color barrier where African-Americans could only personify criminals or servitude.

At 94, the movie icon left behind six daughters from two marriages, the last to Canadian actress and model Joanna Shimkus in 1976.

ISM mourns the departure of this stronghold man from the big screen. Rest In Peace, Sidney Poitier (1927–2022).

Some of our information was taken from the American Academy of Achievement interview with Sidney Poitier.

  •  You Can Also Read: News “En Clave”

Preparence is close to the Panama Jazz Festival 2022.

From January 10 to 15, the Panama Jazz Festival 2022 will be held, this being this 19th edition, which will take place both virtual and face-to-face activities, so that the Biosafety regulations of the Ministry of Health will be met (“No cloth” masks and gel), where they are informed that to enter all events they will be asked for the card and QR code 100% vaccinated with a minimum of 14 days and 12-year-olds must present a negative Covid test 24 hours before.

It will be held at the City of Knowledge Athenaeum, where every day except for Wednesday (12) from 7 pm at the National Theater there will be a Gala night with Danilo Pérez and Kurt Elling, however the other days will be presented:

  • Monday (10): Panamá Connections and Mayra Hurley.
  • Tuesday (11): Borderlands Trio e Idania Douman.
  • Thursday (13): Global Messengers and Pz533-Global Jazz Womxn.
  • Friday (14): Antonio Hart and Solinka.

This year the festival of this edition will be dedicated to Frank Anderson born in Panama, Bocas del Toro on January 24, 1929, in Panama he met and played with many Cuban musicians; In New York, he played piano and directed several recordings by Vicentico Valdés and worked with other artists such as Marcelino Guerra, Polito Galíndez, Arsenio Rodríguez, Andrés Andino and Yomo Toro, Israel López “Cachao”, Clark Terry, and in 1950 he founded his own big band, the musicians were members of the Duke Ellington and Count Basie orchestras. In the 1970s he became musical director and accompanist for many Broadway plays such as Purlie, Don’t Bother Me I Can’t Cope, A Raisin in the Sun, Eubie !, The Wiz, and Guys and Dolls. He also recorded on the discs of those works.

In 2009 he was recognized by the New York State Senate for his musical contributions, particularly his role as organist in various Brooklyn churches and his most recent recording is Ochosi Blues (2015) by Benjamin Lapidus and Kari-B3 where he is accompanying with the organ. in its unique style and unmatched flavor that combines Caribbean music, jazz and more in a very personal way. Anderson currently maintains his residence in Brooklyn.

The International Artists to participate are:

  1. Kurt Elling Dúo with Danilo Pérez “Secrets are the Best Stories”:
    Renowned for his unique combination of robust swing and poetic acumen, two-time GRAMMY winner Kurt Elling secures his place among the world’s leading jazz vocalists. The New York Times proclaimed him the “most prominent male vocalist of our time.” Over a 25-year touring and recording career, he has won 3 Prix du Jazz Vocal, 2 German Echo Awards, 2 Dutch Edison Awards and been nominated for a GRAMMY Award fifteen times. He has had a 14-year career at the top of DownBeat’s Critics and Readers polls, and has won twelve Jazz Journalist awards for “Male Vocalist of the Year.”Elling’s voice is instantly recognizable, embracing listeners with her warm, rich baritone and navigating the four-octave range as a virtuoso improviser and compelling storyteller. The Guardian has named him “some kind of superpowered Sinatra” and “one of the great jazz vocalists of all time.”
  2. Kris Davis and Bordeerlands Trio with Eric McPherson, Stephan Crump:In Borderlands Trio, the collective efforts of bassist Stephan Crump, pianist Kris Davis, and drummer Eric McPherson have luck on your side. In less than a year their chemistry is unusually deep. The title of their album Asteroidea is the Latin term for starfish, a creature capable of regenerating parts of itself, in turn related to the trio’s ability to constantly develop new landscapes. The word starfish evokes notions of both the ocean and outer space. “Gravity, magnetism, constellations, nature. With this band, we are always expanding and contracting, recontextualizing what surrounds us and heading towards the instantly inevitable. ” Crump comments.Asteroidea is a treatise on immediacy and a deep dive into the spectrum of responses to any gesture. Its rhythms are always transforming, its drama has wacky moments, and its creators are just getting started.
  3. Antonio Hart:He studied jazz at Berklee College of Music in Boston with Bill Pierce, Andy McGhee and Joe Viola. Of his friendships in Berklee, Roy Hargrove stands out, with whom he spends three years traveling the world and recording the first three Hargrove albums. During these years on the road, Hart completed a master’s degree at Queens College where he learned from teachers Donald Byrd and Jimmy Heath, who also produced the artist’s second recording ‘Don’t You Know I Care’.With his 1997 release, Impulse Records’ ‘Here I Stand’, he earned a Grammy nomination for ‘Best Jazz Instrumental Soloist’ and additionally participated in more than 100 guest recordings. Since its inception, Hart has recorded eight CDs as a leader. The latest JLP Jazz Legacy productions, ‘Blessings’.The artist balances his time as a full professor at Aaron Copland School of Music, Queens College, with touring with his bands, The Dave Holland Big Band and The Dizzy Gillespie Big Band.
  4. El Berklee Global Jazz Institute (BGJI):It is a musical performance program designed to foster creativity and musical mastery across various musical disciplines, with pianist and composer Danilo Pérez as its founder and artistic director.The BGJI provides a comprehensive contemporary music environment where students have the opportunity to explore their creativity to the highest level possible, advance the power of music as a tool for the betterment of society, and connect musical creative thinking with the environment. natural.
  5. Global Messengers:Directed by Panamanian pianist and composer Danilo Pérez, Global Messengers draws its unique spirit from the culture and experiences of its members, who come from Palestine, the United States, Greece, Jordan and Panama, with varied musical traditions and instrumentation to match. They are committed to the ancient practice of building community through rhythmically rich and melodically exciting music.* Danilo Pérez piano
    * Farayi Malek voice
    * Vasilis Kostas laouto
    * Layth Sidiq violin
    * Naseem Alatrash cello
    * Tareq Rantisi percussion
  6. The New England Conservatory (NEC):It was founded in 1867, being the oldest independent music school in the United States. Since its opening it has played an important role in the musical life of Boston and the world. Its mission is to provide a more rigorous education at the level of musicians of all ages and parts of the world. Additionally, we have teachers who encourage individual excellence in a welcoming community.NEC works for music to have an important place in people’s lives and for rigorous education and excellent recognition. Beyond the study of music, NEC teachers help explore the historical and social frameworks that support our musical traditions.
  7. PS-533:It is the number of a class called “Musical Performance and Social Activism” for the Berklee Global Jazz Institute Master’s Program at Berklee College of Music. The PS refers to the department of “Performance” and 533 refers to an upper level class open only to graduate students. Patricia Zarate, a teacher of this class, organized this group in 2022 to present the Global Jazz Womxn (women and dissidents) that stand out as alumni and of the program. The letter “S” was changed to “Z” to reflect the change from a school environment to a professional environment led by Zarate.

The National Artists to participate are:

  1. Solinka: better known as Solange Arias, she was a public servant in the 1950s, working as a secretary in the Ministry of Education of Panama, has a beautiful voice and is very attractive, so a Cuban agent convinced her to be a singer of professional sauce. In those years, men dominated the salsa genre, which is why Solange was not successful at first. It was in Peru that she became a sensation as a salsa presenter, so much so that one journalist wrote that her performance was as brilliant as an “Inca sun,” a nickname she adopted as her stage name, changing the c to a k. Later he found success in his native country and signed a contract with a record company, traveled a lot and won the first prize at the Valparaíso international song festival.
  2. Idania Dowman: She has a privileged and unmistakable voice that has transcended throughout her 27-year career. Daughter of the renowned Panamanian calypsonian Lord Byron. She publicly began in the Church where she was director of the Archdiocesan Choir of Panama and was part of Jazz Effects of Panama with Reginal Boyce. Today he has two groups of his own: The Emotions and Cache. He shared projects with Billy Herron, as he believes in the generational sharing of culture. He has represented Panama in Peru, Barbados, Trinidad and Tobago, Costa Rica, Colombia, the United States and Dubai. She was recognized by receiving a Doctorate in Art from the United Graduate College and Seminary International (United States) for her career in ART, MUSIC AND CULTURE; by the National University of Panama in 2012 and 2014, and awarded the Golden Star Awards of the distinguished VIP Diplomática magazine of Peru in 2019.She is recognized for her virtuosity in each of her presentations, for maintaining her Afro jazz essence and being a defender of Panamanian culture.

    She is recognized for her virtuosity in each of her presentations, for maintaining her Afro jazz essence and being a defender of Panamanian culture.

  3. Panama Connections: Group made up of professors and scholarship students from the Danilo Pérez Foundation, under the premise of “community and sharing”, Panama Connections explores the creative possibilities between Jazz and its links with Pan-African and Caribbean folklore, from its compositions originals, arrangements and adaptations are focused on this fusion.
  4. Mayra Hurley: Singer, film and television actress, and broadcaster. The Panamanian singer-songwriter is inspired by her multicultural roots that are expressed in all her artistic expressions, from funk, salsa, to rock n’roll, each show is a live experience with Caribbean flavor. In his more than 10 years of experience in musical theater, he has worked under the artistic direction of Bruce Quinn and Edwin Cedeño and has participated in works such as Jesus Christ Superstar (2005), Cabaret (2006), A Chorus Line (2008), Peras en el huerto (2006-2012), Little Shop of Horrors (2010), en la guerra y el amor todo se vale (2011) and Hairspray (2013).He made his film debut in the acclaimed film Historias del canal (2014), presented in the official IFF Panama selection and at international film festivals in Spain, the United States, Costa Rica, Mexico, Canada and Jamaica. In 2019 he participated in the Panamanian film Escribiendo el General by Oscar Faarup and in 2021 he won the Panama positive award in the category Positive Artist.

Buy your tickets through https://panamajazzfestival.com/ or if you want to have other information, follow the following accounts:

  • WebSite: https://panamajazzfestival.com/
  • Facebook: @PanamaJazzFesti
  • Instagram: @PanamaJazzFestival
  • Twitter: @PanamaJazzFesti
  • Correo: [email protected]
  • Telefono: +507 317-1466

From La Cuarta to the world, the National Afro-Caribbean Festival puts us in touch with our essence

Bella Martinez “La Escritora Irreverente de la Salsa” en Cuarta de Ponce from Puerto Rico the Island of Enchantment.

Ángel “Papote” Alvarado, who is also a composer, percussionist, vocal leader, and founder of Grupo Esencia, manages culture by fertilizing our Afro-Caribbean roots every year, making sure to bring the National Afro-Caribbean Festival to Ponce’s La Cuarta neighborhood, where he grew up.  Usually, the event takes place in June of each year.  However, this year -due to the global health emergency brought on by the pandemic that still threatens us- the iconic annual festival was held from November 19 to 21, 2021 at its usual venue.

On Friday the 19th November 2021 and coinciding with Puerto Rican Day, Angel “Papote” Alvarado kicked off the festivities to usher in the 22nd edition of the festival that each year makes the neighborhood the center of our Afro-descendant culture.

This year, the festival paid tribute to Willie Rosario, Ottoniel Vélez, Jesús Chu López and Héctor Pochy Gastón.

Bella Martínez
Ángel “Papote” Alvarado with Willie Rosario during the tribute to Míster Afinque

The musical offerings on Friday 19 included:  Los Cimarrones, Robert Burgos and Descarga Zasón in addition to the stellar Míster Afinque. Willie Rosario’s orchestra has delighted with its unique compact format and has remained active for more than six decades under the direction of maestro Rosario himself, whom the salsa dancer keeps at the top of his preference within the environment that groups only connoisseurs.

The closing of the first night of the festival was preceded by the impeccable performance of the Willie Rosario Orchestra, a well-deserved tribute to the longest-serving bandleader in the salsa sound. Afterward, the author of the authorized biography of Mister Afinque -Robert Tellez- praised Maestro Rosario with some moving words.

It is worth mentioning that journalist Robert Tellez, who is also known as "the one who knows the most about salsa" traveled from Colombia to Barrio La Cuarta in Ponce to be part of the festival and specifically to accompany the artist who is the subject of his work "Willie Rosario, el Rey del Ritmo" during the tribute.
Willie Rosario with his biographer: Robert Téllez

Afterward, “Papote” Alvarado thanked Robert for his support to Afro-Caribbean cultural activities and presented him with a commemorative poster of the 22nd edition of the festival.  The poster contains a photo by a photographer who stands out as one of the most committed cultural connoisseurs of the salsa scene: Conrado Pastrano.

It is worth mentioning that journalist Robert Tellez, who is also known as “the one who knows the most about salsa” traveled from Colombia to Ponce’s Barrio La Cuarta to be part of the festival and specifically to accompany the artist who is the subject of his work “Willie Rosario, el Rey del Ritmo” during the tribute.  Maestro Rosario made us laugh when, in his usual serious and firm tone, he affirmed, microphone in hand, that he was grateful for the tribute, and at the same time said that he deserved it.

From La Cuarta to the world, the National Afro-Caribbean Festival puts us in touch with our essence
From La Cuarta to the world, the National Afro-Caribbean Festival puts us in touch with our essence

 

On Saturday 20, the following were presented: Boricua y de Mayagüez, Tribute to Héctor “Pochy” Gastón and Jesús López, Ángel “Papote” Alvarado and El Grupo Esencia, Roberto Roena’s Apollo Sound with Carlos Santos and Tito Cruz singing. On Sunday 21, the stage was decorated with Ausuba, Bambalué, Homenaje a Ottoniel Vélez, Guayacanes de San Antón and Abran Paso, with Pichíe Pérez and Rafy Santana singing.

This 2021 would have been the 23rd edition of the festival.  However, the 2020 edition was canceled.  In a stoic manner, the team in support of the persistence of the president and founder of the Comité Pro Nuestra Cultura – “Papote”- who has the unconditional support of William Rodríguez Thillet did not give up so that this 2021 edition would be achieved. Following all the rules that the COVID-19 protocol demands, the public was able to enjoy a luxury show.

Willie Rosario Orchestra
Willie Rosario Orchestra

Security and parking added comfort and convenience to the event.  The festival featured, as usual, a display of artisans and kiosks, with the best of Puerto Rican fritanga.

For more than two decades, which are easy to say but are twenty-two struggles for the benefit of culture and its permanence, Angel “Papote” Alvarado has kept our Afro-Latin culture afloat, beyond the border of the southern pearl. Congratulations!

Lots of good energy, health, and success to this musician and cultural manager who carries on his shoulders an invaluable legacy.  As for the rest, we look forward to the next edition of this unmissable festival that takes place every year.  In the meantime, let’s follow the transcendental feat of his Grupo Esencia.

Bella Martinez and Conrado Pastrano
Bella Martinez and Conrado Pastrano

 

By: Bella Martínez

Photos: Conrado Pastrano

Article of Interest: Raymundo “Ray” Barretto Pagan was born in Brooklyn, New York on April 29, 1929.

Ray Barretto, Giant Force

The seeds of capacho give the sound to maracas

The capacho tree (Canna Generalis Bailey) is a large flower and its colors can be yellow, red or orange. The fruit they produce has seeds used by Venezuelan folklorists to create the filling of the maracas and, in turn, get their sonority.

For this process, there are three steps to make them and obtain the final product.

capacho flor bocono
Capacho flor Bocono

In Venezuela, the typical llanera maraca is filled with seeds of capacho, which are very hard and do not wear out easily.

Capacho Semillas
Flower Capacho

Another material used is the so-called “espuma e sapo” which are a type of seed that also give a very good sound to the maracas.

Capacho Semillas
Capacho Semillas

I have been collecting these seeds you can see in the photos for the maracas that we are going to make for the dancing devils of Tinaquillo in my community of Santa Rita in the lower part of El Valle.

Semillas de Capacho
Semillas de Capacho

Manuel Alejandro Rangel

The maraca in Venezuela has been present mainly among our native peoples. It is used to accompany the dance, be a child’s toy, invoke, heal and cleanse at the hands of the shaman. This small and powerful Venezuelan instrument is composed of three elements of nature: mango or stick extracted from the wood of wild trees; tapara or gourd, fruit of a climbing plant with the same name and originally African; and finally, seeds of capacho (Achira) or seeds of Espuma e ́ Sapo (wild plant) that go inside the tapara and are commonly found in Latin America.

For being an idiophone instrument, the maraca produces sound thanks to the vibration of its own body, that is, to the shock of the seeds inside against the walls of the tapara when it is shaken, generating a dry and strong sound. Besides resonating when shaken, when we hold the maraca and make repeated circular movements with the wrist, we achieve that the seeds result in friction with the walls of the tapara, which produces a sound with greater sustain, similar to the sweep of a broom, called for this reason by several cultists escobilla’o.

Over the years, the maraca in Venezuela was incorporated into musical expressions of different regions, becoming an almost essential accompanying instrument and varying its playing technique according to the regions and genres that have adopted it. That is why in the Venezuelan plains, the maraca performance resembles the sound of galloping hooves, that is to say, the blows of the seeds to the tapara when shaking it are mostly dry or staccato, with an possible use of the escobilla’o technique that we will explain in detail in this method.

Unlike the performance in the Venezuelan plains, in the east of Venezuela the maraca emulates the sound of the sea with the prominent use of the escobilla’o; while in the center of the country, the use of this technique is low and the shaking of the seeds is less staccato or forceful than in the plains, making its rhythm function as the main guide for the dancers. The maraca can also be seen in different Afro-descendant drum ensembles in the country, and is generally played by the singers, who use only one maraca instead of two as in the aforementioned regions.

The Venezuelan maraca is fundamentally a popular instrument. Maybe that is why, until now there has not been a specific academic musical writing that allows to know in depth all its language. The most direct way to learn to play this instrument is mainly by oral tradition, as well as by observing, listening, and deciphering great maraca players who, thanks to the cultural heritage and family tradition of their towns, play it in a very genuine and masterful way. Insignificant Venezuelan maraca players who were masters in this field such as: Santana Torrealba, Máximo Teppa, Pedro Aquilino Díaz “Mandarina”, José Pérez, Coromoto Martínez, Trino “Chiche” Morillo, Ernesto Laya, Jorge Linares “Masamorra”, Lorenzo Alvarado, Manuel García, and from the Colombian region masters who have adopted the Venezuelan maraca tradition such as Gilberto Castaño, Diego Mosquera, William León, Emanuel Contreras, among many other anonymous heroes from different regions of Venezuela, have been and will continue to be the most important guide for the teaching and evolution of the maraca in the world, providing new generations with a cultural connection to the deepest roots.

Thanks to the legacy left by each of these maraca makers, a vital source of inspiration for many performers for decades, the commitment to continue with important educational inputs that allow the expansion of knowledge and the evolution of our popular Venezuelan instruments at the academic level is born, since these instruments per se, require a rigorous study in terms of vocabulary, technique, and history.

In this method 5 Movements are the key, I want to share the experience that helped me to understand the traditional playing techniques of the Venezuelan maraca and that led me to the design of a musical writing that shows its performance with clarity and discernment for each Venezuelan genre according to the vocabulary and variations that have been standardized over time.

And when I talk about variations, I emphasize five basic movements that I consider to be the key to the playing of the maraca. Five movements that will later become the musical discourse of those who master them.

Five movements that will show the student why and how the main traditional Venezuelan rhythms are born. Five movements that I have not invented, but that are the vocabulary of tradition, and that the student will observe in the performance of Venezuelan maraca players who have dedicated their lives to this instrument.

Personally, Special mention should be made of maestro Juan Ernesto Laya “Layita”, who instilled in me much of the basic knowledge of the maracas in the workshops dictated by the Ensamble Gurrufío: Aprende y toca con Gurrufío in 2000. Years later, once graduated as a classical guitarist from the Vicente Emilio Sojo Conservatory of Music in 2004, I began to design exercises that would allow me to pedagogically transmit to my students the language learned with maestro Laya and with several of the musicians mentioned in this writing.

An important step if we take into account that no music school in Venezuela had a pedagogical program for the teaching or application of theory to this instrument at that time.

It should be noted that I have put these exercises into practice in various clinics, master classes, courses, and seminars that I have had the opportunity to dictate around the world, where the development and learning of the participants has been satisfactory in a large percentage. Especially in the Simon Bolivar Conservatory (Ccs- Vzla) where I teach since 2014, in the Venezuelan Music seminar organized by Venezuelan percussionist Fran Vielma at Berklee College of Music (Boston-USA) in 2014, and in the “Venezuelan Creole Music Course” (Mirecourt-France) produced by maestro Cristobal Soto, in which I participate since 2015, among others.

With regard to the writing of the Venezuelan maraca, over the years I came across Venezuelan works for orchestra where there are specific parts for maracas such as the guitar concertos by Antonio Lauro, the works of Evencio Castellanos, La Cantata Criolla by Antonio Estévez, La Fuga con Pajarillo by Aldemaro Romero, and the Concierto para Maracas y Orquesta Pataruco by Ricardo Lorenz, to name a few. When I read them, I realized that their writing was not entirely idiomatic, so I had to interpret and adapt to the technique and idiosyncrasy of the Venezuelan maracas what the composer wanted to say and that the writing was not able to convey to me.

That is why in 5 Movements are the key, I propose the musical writing for the Venezuelan maracas in a bigrama, since, within the large family of percussion instruments, the maraca is one of the few that produces sound with the movement of the arm both up and down. And therefore, the upward movement is part of the rhythmic phrase.

In the bigram I suggest, the upper line represents the right hand, and the lower line the left hand, very similar to the piano writing in two clefs: right hand treble clef, and left-hand bass clef. In this way, the polyrhythm of the two maracas is visually separated when carrying out their movements. In addition to the bigram, I assigned to each movement a symbol that defines which of the five that I describe will be used in each figure.

Finally, I would like to comment that one of the main objectives of this method is that these five movements and their combinations show how basic traditional Venezuelan rhythms are accompanied, and besides, how they link or build connections that allow the performer to go from an accompaniment pattern to a variation, and then back without interrupting at any time the rhythmic stability, the sound, or the movement of the arm or wrist. I would also like to add that this method not only applies to Venezuelan music genres, but can also be used to incorporate this sublime and powerful instrument into any musical culture in the world.

Maracas in Latin rhythms belong to the minor percussion section.

A classic of Latin percussion. It is an idiophone instrument, it uses its body as a resonator element, which has its own sound. The origin of the maracas is South American and dates from the pre-Columbian era in America. Originally only one maraca was played, nowadays they are usually played in pairs. Its operation is simple, the sphere is filled with small elements that when shaken impact the inner wall producing the sound we all know. These small elements can be small stones, seeds, pieces of metal or glass… They are normally used to mark the rhythm in Latin music.

Maracas PQ Caracas-Venezuela
Maracas PQ Caracas-Venezuela

Hands to the maracas!

Sources:

Photographs: Alberto Cardenas

https://www.facebook.com/ZorcaCultura/?ref=page_internal

https://cuentaelabuelo.blogspot.com/2010/03/las-maracas-o-capachos.html

https://tucuatro.com/camburpinton/las-maracas-instrumento-musical-economico-y-facil-de-elaborar/

https://www.clasf.co.ve/maracas-pan-con-queso-cuero-y-semillas-de-capacho-en-caracas-1721485/

https://manuelmaracas.com/manuelsite/articulo/a-las-maracas-venezolanas/

Article of Interest: Génesis of Salsa, its essence, characteristics, rhythm, history, and expansión

Video Courtesy of multi – percussionist Diego Gale “Master Class: Maracas

Ray Santos ¨ The last of the Mambo Kings ¨

He was the last surviving member of the glory days of mambo preceding what we know today as salsa.

Ray Santos was a Latin musician, was born to Puerto Rican parents on December 28, 1928, in New York City, attended the Juilliard School of Music where he studied saxophone.

He was a Professor at the City University of New York (City College), where he teaches a Band or ¨performance¨ course.

Ray Santos ¨The last of the Mambo Kings¨

He was a musician in the orchestras of Machito, Tito Puente and Tito Rodriguez. He was also was an arranger and musical director for recordings of Tommy Olivencia, Junior Toledo, Willie Rosario, Lalo Rodriguez, and Rudy Victorino and an Oscar winner in 1992, for the music of the film “The Mambo Kings” starring Armand.

Maestro Santos is a Puerto Rican man who has made significant contributions to Latin music as an arranger, bandleader, and musician.

Ray Santos was a Latin musician, born on December 28, 1928 in New York City to Puerto Rican parents.
Ray Santos ¨ The last of the Mambo Kings ¨

However, beyond the circles of mambo lovers and Latin music big bands of yesteryear, not much is known about his distinguished professional career in Puerto Rico.

Part of it, happens because of the nature of Ray Santos himself. This is a literate person but with an amiable and accessible character, totally devoid of vanity, presumption, or ostentation exhibited by other music personalities with attainments less than him.

For instance, unless he is asked directly, Ray Santos is not going to say that he participated with three arrangements on the compact disc “Palo Pa’ Rumba” CD of Eddie Palmieri, which received a Grammy Award from the Recording Academy in 1985.

Nor will he say that he also arranged for Eddie Palmieri and Tito Puente on the CD “Obra Maestra” which received a Grammy Award in 2001.

For Linda Rondstat he wrote all the arrangements and was the conductor for her CD “Frenesí”, which received a Grammy Award in 1993.

He was a musician in the orchestras of Machito, Tito Puente and Tito Rodriguez, also was as arranger and musical director for record productions of: Tommy Olivencia, Junior Toledo, Willie Rosario, Lalo Rodriguez and Rudy Victorino and winner of an Oscar Award in 1992, for the music of the movie "The Mambo Kings", protragonized by Armad.
Cynthia DeCure y Ray Santos

In the movie “Mambo Kings” he was a mambo director and arranger, including the arrangement of “Beautiful Maria of my Soul”, a song that was nominated for an “Oscar®” as “Best Song from a Motion Picture” at the 65th Academy Awards® of the Academy of Picture Arts and Sciences.

In other words, this is a person who has reached a seat of honor in the world of Latin music, is Puerto Rican, and is practically unknown by his countrymen.

On the one hand, the album “Mi Luz Mayor” celebrates the legacy of Machito, Puente, and Rodriguez. And on the other, The great contribution of Ray Santos to Afro-Caribbean dance music.

We would like to present the outstanding professional career of Maestro Ray Santos after he suffered a recent health problem.

Ray Santos y Eddie Palmieri
Ray Santos y Eddie Palmieri

Ray Santos passed away at his home died on October 17, 2019, at the age of 90.

Facebook: Ray Santos

Sources:

By Ewin Martinez Torre

[email protected]

Latin Heritage Contributor

San Juan – Puerto Rico

Jaime Torres Torres

National Foundation for Popular Culture

El eterno ‘swing’ de Ray Santos

Articles of Interest: Ralph Irrizary, a well-known percussionist, is considered one of the most “Swing” timbaleros in the world

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.