Search Results for: Legend

Oskar Cartaya “My Music, My Friends, My Time” He counted with the collaboration of illustrious friends such as Eddie Palmieri, Giovanni Hidalgo, Dave Valentín and Justo Almario.

Friendship and personal relationships seem to have always played a key role in Oskar Cartaya‘s recording career.

This was demonstrated Cartaya in his first recording, “My Music, My Friends, My Time” (2004) in which he had the collaboration of illustrious friends such as Eddie Palmieri, Giovanni Hidalgo, Dave Valentín and Justo Almario.

Bajista, arreglista, compositor y productor neoyorquino de nacimiento y bayamonés

This is also demonstrated by the second one, “Lifetime Friends”, which he co-led with trumpeter Humberto Ramírez and which was chosen as one of the best Puerto Rican productions of 2015.

For the bassist, arranger, composer and producer – born in New York and raised in Bayamon – connections with other people are a vital element for the development of any musician.

Those connections coupled with the tenacity Cartaya has always shown to continually improve himself as a musician allowed him to be part of the legendary progressive jazz-rock group Spyro Gyra for five years, produce albums for Willie Colón or Herb Alpert, and play with a long list of stars including Jennifer López, Christina Aguilera, Rubén Blades, Héctor Lavoe, Tito Nieves, Tania María, Arturo Sandoval, Steve Winwood and Randy Brecker, among others.

To all of them he has lent the sound of his electric bass, able to insert itself with total naturalness in modern jazz, Cuban rumba, Spanish flamenco or Brazilian cadences, but without ever losing its funky essence, which gives rhythmic impulse to the musical genre before him. For Cartaya, music is not a profession, but a passion of life.

That passion manifested itself at a very early age, when he told his Cuban-born father that he wanted to be a musician when he was just 10 years old. He completed his initial studies at the Escuela Libre de Música de San Juan, which he remembers with pride and affection.

However, he has affirmed that his first real musical school were the records of Willie Colón and Héctor Lavoe, which he listened to at full volume in his room.

At the Escuela Libre de Música he was able to meet teachers and classmates who today are great masters of Latin music and colleagues of his, such as Humberto Ramírez himself. He also studied at the Conservatorio de Música de Puerto Rico.

Cartaya recalls that, although he studied chamber music in school, his real passion was Latin music…until he discovered jazz, thanks to an album by the great bassist Stanley Clarke. A new world opened up to his ears.

“I found a freedom in jazz that I didn’t find in Latin styles,” the musician said in an interview. “In salsa, for example, the maximum is when you are playing as part of a unit. Unlike jazz, whose pinnacle is when all the musicians improvise and go crazy playing, but everyone knows what they are doing.”

At 18, Cartaya moved to Los Angeles, where he began studying at the Musicians Institute of Technology. There he practiced for 15 hours a day, a devotion that brought him his first recognition: being accepted as a professor at the prestigious institution, two years after graduating from it.

However, his restless spirit and continuous desire to improve led him to make what he has described as the best decision of his life, moving to New York City. In the Big Apple – the place many consider the jazz capital of the world – he had the privilege of playing and recording with the late Argentine pianist Jorge Dalto; with Willie Colón and Rubén Blades; Celia Cruz, Tito Puente and Dave Valentín.

“I learned a lot, matured and saw firsthand what it was like to be on my own,” the bassist said in an interview about this period of his life. “If the opportunity was going to be given to me, it wasn’t going to come to my house. I would have to look for it.” And so he did.

At that time he also had the opportunity to meet the late rock icon Prince, at his Paisley Park, Minneapolis studios, and to become a member of Spyro Gyra. By being accepted into that group over 10 other bass players auditioning for the position, Cartaya realized that success belongs to those who work hard and have faith in themselves.

“I was able to show a lot of people that there’s nothing worse than feeling bad about yourself if you don’t try,” he said in an interview. “All the nights I played for free or for five bucks to earn a chance were well worth it.”

In 1997, the bassist produced the “Passion Dance” recording project for veteran trumpeter Herb Alpert, an experience he has described as a new learning experience in his career, as well as a chance to expose himself to a wider audience.

“My Music, My Friends, My Time,” released in 2004, is a fusion of Latin, Brazilian, American and Flamenco rhythms that was very well received by critics.

“I wanted to do a project that would fill that gap that exists between Latin music and the world. I truly believe that the world needs to know that Latin musicians can do countless things within music, without throwing away their roots,” Cartaya said of the recording.

“Lifetime Friends,” produced alongside Ramirez, was described upon its release in 2015 as “an album of a cohesive and jubilant band,” in which all participating musicians – representatives of the new jazz generation in Puerto Rico – have a chance to stand out. “It’s the album we always wanted to make… to describe almost 40 years of friendship,” Cartaya and Ramírez indicated.

In 2017, Oskar presented the production “Bajo mundo” in tribute to the great Cuban bassist Israel “Cachao” López. This intense, exuberant album, with a multiplicity of rhythms, colors and guest musicians was distinguished as one of the most outstanding productions of the year by the National Foundation for Popular Culture.

It also won a Latin Grammy Award nomination in the category of Best Latin Jazz Album.

Source: Rafae Vega Curry

National Foundation for Popular Culture

“This biography is part of the archives of the National Foundation for Popular Culture. In our interest to disseminate knowledge about our great figures, it may be cited as a basis for research studies or as an assignment for pedagogical purposes, as long as credit is given to the Foundation and its author, if indicated. All rights reserved. The reproduction of the same in any printed, technical or mass media, with or without commercial purposes, is not authorized without prior written request to the Foundation and its consequent approval”.

Also Read: “The Sun of Latin Music” the first Grammy Award for Salsa Eddie Palmieri’s historic album

Lenin Francisco Domingo Cerda, better known as Frankie Dante, the “Underground” and “Irreverent” of Salsa in New York in the 60’s and 70’s.

“Cerda If I were president, if I were a president, there would be no armed forces, wars would end, the boys would go home where they belong.”

Lenin Francisco Domingo Cerda, mejor conocido como Frankie Dante el “Underground” e “Irreverente” de la Salsa en New York

Lenin Francisco Domingo Cerda, known as Frankie Dante, was born in Santo Domingo, Dominican Republic, on September 15, 1945.

He traveled to New York City in search of the sound of the barrio, influenced by Willie Colón and Eddie Palmieri with his Orquesta La Perfecta.

Frankie Dante, always characterized for being an authentic sonero, who interpreted the stories of the Latin barrio.

In 1968 under the label Cotique he appears in the album “Los Coquetones”, where Ismael Quintana also participated, the great influence in his development as a vocalist, this album is produced by Mr. George Goldner.

Cerda records a second production with La Orquesta Flamboyán, entitled: “Different Directions”, following the line implemented by maestro Eddie Palmieri with La Perfecta, where he continues the emphasis on social issues, raised in his first musical work, this time with the production of Ralph Lew.

Orquesta Flamboyan Con Frank Dante Different Directions1970 — Orquesta Flamboyan Con Frank Dante Different Directions
1970

Launches the album: “Se Viste de Gala”. Resuming his social commitment, he includes the piece “Venceremos”, accompanied by the electric guitar played by Harry Vigianno, who also plays the tres in this production.

In 1972, Frankie Dante is invited by Larry Harlow to produce a new album entitled: “Orquesta Flamboyán Con Larry Harlow”.

Here Frankie achieved hits such as: “La Cuna del Son”, “Yo Te Seguiré”, “Vive La Vida Hoy” and “Presidente Dante”.

The album featured the participation of Larry Harlow on piano and musical production, Ray Romero and Jerry Gonzalez on Congas, Ismael “Pat” Quintana and Milton Cardona on backing vocals.

This album is considered as a recognition of Frankie Dante’s talent when he was asked by the “Wonderful Jew”, Larry Harlow to record together.

Frankie shows all his irreverence by substituting the montuno for a political speech in the manner of a candidate.

As a representative of the Underground current, Dante prefers to perform in a bohemian way in Clubs such as: El Caborrojeño and the Cheetah.

While in these clubs he meets pianist Marcolino Demond and they release the historic album: Beethoven’s V.

One of his best productions was with the extraordinary musician and pianist Markolino Dimond, who had played with Willie Colón, the album was titled: Markolino Dimond Con Frankie Dante Beethoven’s where in addition to his extravagances he imposed a different way of playing.

The album included five compositions by Marcolino Dimond: “Sabrosón”, “Camarones”, “El Quinto De Beethoven”, “Maraquero” and “Ahora Sí”, two songs with reserved author’s rights: “Los Rumberos” and “Yo No Tengo Amigo” and the hit “Porque Adore” by maestro Tite Curet Alonso.

Markolino Dimond Con Frankie Dante Guest Star Chivirico* Beethoven's V — Markolino Dimond Con Frankie Dante Guest Star Chivirico* Beethoven’s V

Dante and Marcolino were a duo without precedents, taking into account that both had the stigma of rebelliousness.

The album features Frankie Dante and Chivirico Davila on vocals and Yayo “El Indio”, Pete “El Conde” Rodriguez and Ismael “Pat” Quintana on backing vocals.

Other great musicians that participated in the band are Nicky Marrero – Timbales, Bongos; Pablito Rosario – Bongos; Barry Rogers – Trombone; Mike Collazo – Timbales, Eddie “Guagua” Rivera – Bass; Lewis Kahn – Trombone; Reinaldo Jorge – Trombone and Frank Malabé – Congas.

In 1976, again with Marcolino, he released: “Los Salseros de Acero”, in an attempt to reunite the original line-up of Los Flamboyán with Joe “Chickie” Fuentes on trumpet, Ángelo Rodríguez on trombone and Alex Ojeda on timbales, plus the participation of stars of the moment such as: Charlie Palmieri, Tito Puente and Ricardo Marrero, in what was called: Flamboyán All Star Band.

Frankie Dante & His Orchestra Flamboyan Los Salseros De Acero

Among the songs on the album were “Ciencia Política” by Frankie Dante and “Chupa El Pirulí” composed by the wonderful Ciego Arsenio Rodríguez.

That year he published his seventh album “The Flamboyán All Star Band Frankie “Be Bop” Dante”, also recorded for Cotique Records, which included songs such as: “El Pipón”, “Son Retozón” and “Mumbo Jumbo”, compositions by Frankie Dante himself and a version of the song “María Cervantes” by the Puerto Rican Noro Morales.

Sonny Bravo, Norberto Cruz and Marty Sheller participated in the arrangements; Charlie Palmieri – Arrangements and Director and Mr. Ralph Lew as Producer.

The album also counted with the participation of other great musicians of the salsa movement such as: Leopoldo Pineda – Trombone, Ray Maldonado – Trumpet, Frankie Malabé – Congas, Orestes Vilató – Timbales, Ronnie Cuber – Sax and Flute, Willie Colón – Chorus and Tito Allen – Chorus.

One of Cotique’s recordings was entitled “Frankie Dante and his Orquesta Flamboyán Best Foot Forward”, a compilation album with Frankie’s hits such as: “Paz”, “Los Rumberos”, “Presidente Dante”, “Venceremos” and the well known song “Yo Te Seguiré” written by the great Catalino Tite Curet Alonso.

The Legendary Frankie Dante And His Orchestra Flamboyan Best Foot Forward

His last recording appearance would happen in 1979 with the release of “Los Rebeldes”, where he decided to name his group: Frankie Dante Y Los Rebeldes.

This album has songs such as: “Los Congresistas” by Frankie Dante, a version of the song “Semilla De Caña Brava” by Cuban Luis Martinez Griñan “Lily” and “Vuelve El Rumbero” by Puerto Rican Johnny Ortiz.

Also participating in the recording were: Sal Cuevas – Bass, Louie Cruz, Marty Sheller, and Louie Ramirez in the Arrangements, Alberta Dering – Artistic Director, Ralph Lew as Producer and Milton Cardona as Musical Director.

Dominican Frankie Dante developed his musical career in New York City, where he died of cancer on March 1, 1993.

Dante, emulating his compatriot Johnny Pacheco, settles in the city of skyscrapers and takes with his “precursor” lyrical talent in terms of social conscience in salsa. With good artistic sense he perceives that the sound of the neighborhood and its hurtful musical style will be the main axis of the new concept that is born in the land of Uncle Sam.

“He recognizes in the almost adolescent Willie Colón a style to follow, he is enormously attracted to that “sour” way of arranging the songs, the maestro Eddie Palmieri and his Orquesta La Perfecta (already in full swing) also influence the young Dante as well as Ismael “Pat” Quintana’s way of interpreting, a style that Frankie incorporates immediately in his first production in 1968 under the Cotique label (Ref. CS-1043) titled Los Coquetones”.

Sources and Bibliography:

http://www.megaupload.com/pt/?d=FR6AAPU0
• http://ww.malianteo.com
• http://www.salsajazz.com/i
• http://apostolsalsero.soy.es/frankie-dante-la-orquesta-flamboyan/
• Latinastereo 100.9 FM nuestra música

Also Read: Nicky Marrero is an innovator, timbalero and bongo player, living legend of our Afro-Latin and Caribbean music.

Don Perignon and La Puertorriqueña are prides of Puerto Rico

There are many legendary orchestras in Puerto Rico that may not be widely known to many, but La Puertorriqueña is one of those names that cannot be excluded from the musical history of Puerto Rico and Latin America in general. Today, we were fortunate to interview Don Perignon, leader of the group, so that he could tell us about himself and the orchestra he founded.

Pedro Luis Morales Cortijos, better known as Don Perignon, is a bandleader and timbalero with whom we had the pleasure to talk about his musical background and the Orquesta La Puertorriqueña, which has given him the recognition he has nowadays. Then, these are the most important topics covered in the pleasant conversation we had with the veteran musician.

Don Perignon from La Puertorriqueña — This is Don Perignon, bandleader of La Puertorriqueña

Why the nickname ”Don Perignon”?

When asked about why he is known as Don Perignon, he laughs and says that this is the most frequently asked question he has answered in the past three decades.

It all started because his familly called him ”Perin”. Then, one day, a musician from Andy Montañez orchestra in Miami asked him why he was called that, to which he replied that he has always been called ”Perin” in Puerto Rico. Later, the same gentleman arrived with a bottle of Dom Perignon (a well-known vintage champagne brand) and said that, for him, this young man was a grown man because of how he conducted himself, so from now on he was going to call him Don Perignon.

After that, Andy Montañez took it as a joke and began referring to the musician as Don Perignon, which other fellow musicians began to do, so it ended up being his official stage name.

How did Don Perignon fall in love with music?

Don Perignon told us that the first instruments he liked were the bongo and the conga, but that changed immediately as he knew the timbal, which he felt was more in line with the personality that he projected.

This curiosity for music led him and other teens his age to create an improvised group, while being at the school and studying at the Puerto Rico school of music. It was not a long time that he was in the institution, but it was enough to learn everything he would need in the future. In addition, the style he has nowadays when performing and leading an orchestra was acquired by watching Barry White, Ray Charles, Elvis Presley, among other celebrities of the day.

Don Perignon and Andy Montañez — Don Perignon next to Andy Montañez

La Puertorriqueña

Something that Don Perignon wanted to clarify with regards to La Puertorriqueña is that the project did not start in 1975 as we thought, but that the group started with other names until 1987, which is when the artist and his colleagues finally decided to name it that way.

In the early 1970s, both Don Perignon and the rest of his colleagues, in his own words, were ”kids playing at being musicians” who were only interested in playing. However, over time, they started taking things a lot more seriously and decided it was time to pass the baton to someone, so they all took a vote and chose the young man as their bandleader because he was the tallest, had more physical presence and more character.

That responsibility he was given was a training-school for Don Perignon and acquired most of the knowledge he has today about music. Although the group eventually broke up, the artist is proud that his former orchestra fellows have achieved success and obtain prestige in the projects they undertook, which shows that those seeds they sowed at the time have borne fruit. According to him, ”they all achieved their dream thanks to discipline”.

Over time, other musicians joined the orchestra and also did their bit to make La Puertorriqueña what it is today.

Demostrando a Tiempo

Don Peringnon has said that one of the most important features of La Puertorriqueña is to always pay homage to the dancers and of course their latest album ”Demostrando a Tiempo” could not be the exception. Orchestras and Latin artists in general can interpret music in their own way, but a common denominator between all of them is that they will always include the characteristic spice of the dance and that is what we aim for in each of our productions,” said the musician.

It is for this that the artist says that ”Demostrando a Tiempo” is not very different from the rest of the work made by the orchestra, since they have always paid homage to dancers and they will never deviate from that path. What has changed is that the group experienced with much more romantic lyrics than ever and included them in special rhythms for dancers. This makes the production have the perfect fusion of rhythms for those who dance or simply listen.

Another important detail is that ”Demostrando a Tiempo” can also be defined as a mix between tradition and modernity. In this regard, the bandleader points out that, in the early days of salsa, most musicians were self-taught, until conservatories and music schools welcomed salsa, so musicians were better academically trained and new ways of performing and doing things in general emerged. Therefore, Don Perignon and his musicians, who are from the old guard, have had to adapt to the new times, but without leaving aside the essence with which they started their project.

Some of its main songs are a new version of the classic ”Soy Tu Ley”, ”A Quien Iré”, ”Sácala A Bailar”, ”Sin Rumbo”, among many others that La Puertorriqueña fans will find in this album.

After a few weeks of its release, critical reception to the album was very positive and Don Perignon trusts that the impact will be greater as days go by.

Benny Moré. The story of Cuba’s biggest crowd idol

Latin America / Cuba / La Habana

Who is Benny Moré? He is not just another musician, he is unanimously the most brilliant popular artist that has existed on the Afro-Cuban island. He is the symbol, the myth, the legend, it is undoubtedly the summary of the popular, rich and abundant music of Cuba.

Benny Moré symbolizes the peasant “Guateque”, the “Sarao”, the bohemian, the coffee, the bar, the theater, the party, carnivals, the show. “El Bárbaro del Ritmo” was the most popular in Afro-Cuban music.

He was born on August 24, 1919 at seven in the morning in the Pueblo Nuevo neighborhood of the town of Santa Isabel de las Lajas, belonging to the Cienfuegos province. His parents were Virginia Moré and Silvestre Gutiérrez, and Benny was the oldest of 18 siblings. His last name Moré came from Ta Ramón Gundo Moré (slave of the Count Moré), who, according to the tradition of the Congos, was his first king in Santa Isabel de las Lajas.

Benny was gifted with a fluent tenor voice that gave life with great expressiveness and this context was definitive for his future career in music. He learned to play the insundi, the yuka drums, the Makuta and Bembé, invocators of deities, with whom he not only sang and danced to perfection, but also played the son, the guaracha and the rumba.

Since he was a child he expressed his great vocation for music, he would spend all day humming a song or improvising and directing ensembles composed of machetes, bongos made with milk cans, guitars made with a board and nails with strings of string sew, two sticks as keys, and so on.

Moré was a teacher in all genres of Cuban music

The “Bárbaro del Ritmo” could always be found standing on a table singing and playing, surrounded by listeners. Bartolomé spent his childhood and adolescence, with no opportunity for study or permanent employment. Like his brother Teodoro, Bartolomé was enrolled in the School of Public Instruction “José de la Luz y Caballero”, where he always stood out for his conduct and application.

Why is the Bacardi symbol a bat?

Since he was a child, Moré had skills for singing and improvisation, which he demonstrated when he was barely seven years old, when he would run away for a few hours to entertain parties in the neighborhood and loved singing notes with his mother, to prevent her from sleeping while ironing late into the night.

His voice was particularly highlighted in the Son Montuno, the Mambo, and the Bolero

Benny went through a complicated life, but he was willing to do anything to achieve his dreams of triumph. With almost 20 years of age, in 1940 Bartolomé said goodbye to his mother at the Hotel Ritz in the Central Vertientes, where she worked, and traveled hidden, indistinctly, by train and truck to the City of Havana. He was definitely in the mission to try his luck in the bustling city!

Since then, he was seen by the famous neighborhood of Belen, with a guitar acquired in a pawnshop, wandering through cafes, bars, hotels, restaurants, and even brothels. That same year he told his cousin: “I stay in Havana, I rise up here or I sink”. From that moment began the saga of concerts at the bars of the port avenue … Once remembering those times, he confessed: “I threw myself into the street with a guitar on my shoulder to sing to tourists. I am not ashamed of it; Carlos Gardel also did it in Argentina and is the king of tango. ”

At that time, the CMQ station began broadcasting the Supreme Court of Art. Bartolomé Maximiliano Moré appeared in that program that Germán Pinelli and José Antonio Alonso encouraged. After presenting it and at the moment of beginning his presentation, they rang the bell.

Later Bartolomé returned to Monte and Prado to the Supreme Court and on this second occasion he won the first prize. Possessing a fresh voice, beautiful timbre, sensual and evocative. Bartolo sang with all the inner strength that claimed the Cuban rhythms.

In one of his raids, Siro Rodríguez, member of the famous Matamoros Trio, heard him sing in the bar of El Templete restaurant, on Avenida del Puerto, and was very impressed by the boy’s voice and tuning.

The entry of Bartolomé to the group of Miguel Matamoros was a fact and can be considered as his real debut as a professional singer, because with this group he had for the first time a steady job as a musician and made his first recordings on 78 revolutions per minute discs.

Benny knew he had a voice, the luck and a destiny. Perhaps he sensed it, intuited it, or simply trusted his triumph. When he started with Miguel Matamoros and his group, I already wanted to make changes in the picket line.

In Mexico, when Miguel became ill, he was able to direct the group, took control and enjoyed the “Cuates” in El Patio cabaret. When the contract ended, the Matamoros group returned to Havana, but without Bartolomé, who decided to try his luck by himself in Mexico.

When he communicated his decision to the famous author of El Son Siembra Su Maíz, Miguel Matamoros said: “It’s very good, but you have to change the name of Bartolo, which is very ugly. With that name you will not go anywhere”, You are right, Bartolo replied, from today I will call myself Benny, yes, Benny Moré. ”

The owner of the business was hypnotized by the very tasty atmosphere that Benny led as director. After singing with several push orchestras in Mexico, he planted himself beautifully with the most famous band of the 20th century: Pérez Prado and the Cuban mambo.

With this meeting two geniuses joined: Benny Moré had talent and natural intuition; in Pérez Prado, in addition to all that, the mastery of technique and an enormous facility to make music. With Perez Prado he conquered the noble Aztec people on tours of different states of that sister country.

Due to the success achieved by Benny, the town gave him the title of “Prince of Mambo” and Pérez Prado, “King of Mambo“. He sang like nobody else in the world and began his international promotion.

By that time, Benny’s voice was known in Panama, Colombia, Brazil, Puerto Rico, Haiti, Venezuela, and of course, in his native Cuba.

In the joyful world of nightlife in Mexico City, the Cuban singer performed in many theaters, including Margo, Blanquita, Folliers and Cabaret Waikiki, alternating with renowned artists such as the legendary star Yolanda Montes (Tongolele), the Mexican Toña la Negra, and the outstanding cuban pianist and composer, Juan Bruno Tarraza, of whom Benny sang the bolero “It’s already twelve o’clock”.

Benny participates in many films and upon his return to Cuba, he was already certain that he had to be counted on.

The nostalgia for his family, friends, for the Homeland, and the desire to obtain laurels on his Island, where he considered that he was not known enough, made him return to his beloved Lajas at the end of the year 50. The ‘sonero mayor’ was definitely in Cuba, where he had left behind comforts, material and spiritual satisfactions, friends and even the loves that the successful do not usually lack.

During the following two years he acted by contract for a program called “De fiesta con Bacardí”, which was aired by the Eastern radio station with the orchestra of Mariano Mercerón, and the singers Fernando Álvarez Pacho Alonso.

As Benny Moré was an exclusive artist of RCA Víctor, this firm claimed his presence in Havana to make different recordings. In order to fulfill this commitment he gave alternative trips to Havana and thus maintained his responsibility with the eastern radio station.

After the commitment at Casa Bacardí and maestro Mercerón, in 1952 Benny Moré returned to Havana.

Certainly, Benny concluded an era, closed a chapter of Cuban musical life, that stage of nightlife that was already declining.

Benny’s life was related to a world that has already disappeared. Then everything became myths and legends … Benny kept on singing, but now it would be on scratch discs, which were digitized.

The “oidores” (listeners) will be transported in time, imagine the bars of the Havana port full of curious tourists. From Chinese restaurants selling “complete” to poor people who passed their hats, after singing through the streets of Havana – Cuba.

Marco Toro. The Versatile of Percussion

Europa/ Holanda

Marco Toro is a versatile drummer, percussionist and composer born in Caracas, whose roots are embedded in Venezuelan popular music and culture.

In October 2015 he released his latest work, this time it’s about Latin jazz: Marco Toro presents Zambo Jazz, a mix of rhythms and flavors that reminds the listener of places like Africa, South America and New Orleans.

Marco Toro once again shows his diversity on drums and percussion, playing as always with top-notch musicians who also share credits on this production.

Marc Bischoff, from Germany on piano, wrote two of the eight songs: Oh Lame Saint and Mojitos and Daikiries, trumpeter Oscar -Chucky- Cordero, from Venezuela, wrote The Tour. Michael Simon, also from Venezuela, arranged Marialí. James 2 AM It is a composition by Chilean Alekos Vuskovic and Let It Walk is by trumpeter and arranger Francisco Peña from Colombia. Matthias Konrad plays the trombone; He is also from Germany and the Venezuelan Samuel Ruiz plays the bass.

In addition to playing drums, timbales, congas, bongos and cowbells, he also plays typical Afro-Venezuelan instruments such as cumaco, culo e puya, bell drum, tamboras, maracas, etc.

He not only plays all kinds of percussion instruments, he also plays a wide variety of styles.

Already in 2004 he embarked on a solo project: Marco Toro y su Ensamble, exploring South American rhythms such as Son, Joropo and Salsa, among others. With this group he released eight albums; The last CD is from 2017: Marco Toro y su Ensamble 12+1 Anniversary more info (www.toro-ensamble.com).

Marco Toro is currently playing with Lucas van Merwijk’s Drums United and Cubop City Big Band since 2008, touring Europe, the United States, Canada, South America, China and Thailand.

In 1989 Marco Toro formed Laberinto, a rock band that became known for creating “Metalatino”, a unique blend of heavy metal and Latin percussion.

In 1992 Laberinto moved from Caracas to Amsterdam, where the band released eight albums between 1996 and 2010.

Dutch rap legend Osdorp Posse appears on The World Might Suck, since 2008.

A ninth album: The best of Labyrinth was released in Venezuela.

After years of successful and extensive touring in Europe, Colombia and Venezuela went their separate ways.

He has shared the stage and recorded with many renowned artists such as:

Andy González
La India, Jimmy Bosch
Pedro Arroyo
Metropole Orkest
Laberinto, Osdorp Posse
Def P
Beatbusters, Lucas van Merwijk’s Drums United
Cubop City Big Band
Ricky Luis N’Clave
Zambo Jazz
De Pana
Beatbusters and Def P
Santanico,
G. Clarinda y la Rítmica
Primera Plana Orchestra
Bembe Orchestra
El Trabucombo by Gerardo Rosales
Marejada, Tierra Caliente
Rudy Albano
Jacqueline Castro
Subject to change
Tumbao
Grupo Kilele
Javier Plaza and his Orquesta Sonrisa
FP La Banda
Chucky y su Trabuco Guarimba
Barrio Nuevo
La Misma Gente
Marike Jager Kuenta i Tambu
King of the bongo
Carmen Gabriela Lozada
Grupo Mate
Alejandro Carbajal
Flaco Carrillo
Silicon Head
Wereld Kinder Festival
The virtual school of Bart Noorman
Pistoleros de la Paz
Download Amsterdam
Ensemble Amsterdam
Cabo Cuba Jazz
The Soul of Spanish Harlem
Jean Paul Tamayo

among others.

Marco Toro is sponsored by Zildjian Cymbals, Pearl Percussion and Evans Drumheads.