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Javier Cabanillas and his Cabanijazz Project

It has been a privilege for International Salsa Magazine to talk to Mexican bandleader, professor and musician Javier Cabanillas, who told us in detail about his life from the day he started in music until today, when the fruits of all the hard work and great talent are seen.

Interesting beginnings

Javier begins by speaking of his beginnings in the world of music on the streets of Tijuana, in his native Mexico. He tells us that he used to work in San Diego, USA, and Tijuana is a border city, so he had to cross the border every day in order to fulfill his professional commitments.

On his days off, he often went to what is known colloquially as ”sobremesas” or ”tianguis”, which are closed streets where vendors set up their stands to offer their goods to passersby. In those places, he played the conga, as he felt that this was a space where he could freely express his art in front of an audience, although his dream was to do it on stage. What he did not know was that sooner or later it would come true.

Javier did not think he could walking down a red carpet in Los Angeles, since his activity was completely informal. He was just looking to blow off some steam and drain daily stress. I felt very comfortable playing the conga as I did, but over time, I began to professionalize myself in the musical area and that is how I have gradually achieved what I have set myself out to do,” says the artist.

Although it is a long time ago, Javier remembers very fondly those years because that gentle scene and that communication with people on the street helped him to develop the warmth an artist needs to connect with the audience.

Javier Cabanillas and his Cabanijazz Project at the 62nd Monterrey Jazz Festival

How have your Latin roots affected your career in the United States?

As to how his roots have affected his career, Javier says that he had to learn most things on the go, but always ramaining respectful toward all cultures in which his music was involved. He mentions this as his origins are focused on northern Mexico where the typical thing is to listen to norteño and banda music, but he did not choose those genres for his career, but jazz and Afro-Cuban rhythms. ”I had a lot of respect for that culture because I felt that it was not completely mine, which led me to be much more responsible and respectful when experimenting with this market,” he said.

When talking about learning to play an instrument or genre that does not belong to his culture, he said that there are always some limitations because musical language will always vary. In his case, the kind of musical language comprehensible to him is that of mariachi or banda music, making easier for him to identify certain elements. When he went to live in San Francisco, he spent time with musicians from all nationalities and could realize that they were not able to do many of the things that were not proper from their countries of origin. This makes learning more complicated, but not impossible.

In that sense, Cabanillas says there are some useful techniques to learn to play instruments and rhythms we did not grow up with, so there is a revolution of percussionists and musicians who have managed to break that mold. The Internet has played an extremely important role in all this, as artists of all kinds can access content that helps them improve and develop professionally. In his particular case, YouTube and these online tools did not exist, so he could only count on his ear and imitate what he heard to learn.

Cabanillas' music is based on jazz and Afro-Cuban rhythms — Cabanillas’ music is based on jazz and Afro-Cuban rhythms

The Grammy

One of the great victories in Cabanillas’ artistic life was the Grammy he won with the Pacific Mambo Orchestra. Since the members of the group did not have the necessary funds to produce an album, they turned to other financing options supported by the community through an online fundraising campaign. The intention was that anyone could make a donation or even buy the album in advance.

30 days later, they achieved their goal and recorded the album. Javier was one of the 36 musicians who participated in the production and his role was to be in charge of percussion with his congas. The orchestra was not supported by any major label, so they did everything independently. This gave them more control over what they wanted to offer to the audience, since they were not subject to what any management wanted from them. This meant that the process of preparing the material was very organic and spontaneous.

When the album came into competition in the ”Best Tropical Album of the Year” category, it managed to be among the five best nominees along with Marc Anthony, Carlos Vives, Los Ángeles Azules, Sergio George, Oscar D’ León and many more. Three of them were working with Sony Latin Music, so they had great chance chances to win because they worked with such a big label, while Pacific Mambo did not have all that machinery behind them, not even close.

Javier Cabanillas with the Grammy he won with the Pacific Mambo Orchestra

That’s how we were invited to Los Angeles, walked down the red carpet like the rest of the artists and took a huge surprise to win the Grammy in our category. At that moment, I felt that all my effort was worthwhile” the conguero said excitedly. He confesses that he and his orchestra fellows did not expect the win because they were the least popular nominees in the category. Fortunately, the judges focused their attention on the quality of their work and not on their popularity at the time.

Cabanijazz Project

As noted, the name of the group is a play on words between the artist’s last name and the word ”jazz”. The whole idea came up in Tijuana, where he was clear that he wanted to start a project in which he would not limited to a single rhyming scheme. He did not want to use something as generic and worn-out as ”Javier Cabanillas Y Su Orquesta”, so he started to play with other elements to obtain an original name that would capture the essence he wanted to show. This is how the name ”Cabanijazz Project” was born.

The project started as a quintet that played in several festivals and events, achieving some success in a short time. Later, he added more musicians until having eight. When he started working in San Francisco, he began studying more and absorb the culture around him for a few years. Some time later, he restarted his project again with Bay Area musicians and started uploading his material to music platforms such as ITunes and Spotify.

Among the instruments used by his group, the trombone, the tenor saxophone and the baritone cannot be left out. They are the three largest wind instruments in the brass range, so they were the ones that achieved the sound Javier was looking for in his orchestra.

Another important detail is that the music they play is entirely original and they only change their repertoire a little when they play live.

San Francisco Salsa Festival 2023

One of the group’s upcoming performances will be at the annual San Francisco Salsa Festival to be held in March 2023. Cabanillas says that one day he received an email from the event organizers informing him that Cabanijazz Project was the choice to play there. They were recommended by several of Javier’s friends and colleagues who assured the organizers that the band was the best choice for its quality.

They have already played three times at the festival before the pandemic resulted in the suspension of the event, so the artist and his musicians already have a lot of experience entertaining the tough Bay Area audience. Cabanijazz Project will be the opening band for the festival and will perform along with two other local groups that will also offer their talent to the attendees.

Pacifica Radio, history, shows and controversy

This is Pacifica Radio

Pacifica Radio has been one of the largest radio networks in the United States in recent decades and its importance remains enormous today despite the time elapsed. It has given voice to figures of all kinds of political and ideological trends and artists from all genres who sought a platform in order to be heard. However, such popularity does not make this organization to be free from controversy that, like its history and shows, we would also like to explore with the greatest possible respect.

Next, we will talk about the most outstanding to observe about this radio station since its beginnings from 1946 to this day, since talking about Pacifica Radio is also talking about communication in the United States and the role played played by Latino culture and music in all of this.

Logo of Pacifica Foundation

Beginnings of Pacifica Radio

Pacifica Foundation is a non-profit organization that owns five independent radio stations financed from listener contributions. It is widely known for its progressive and liberal tendencies and is located next to KPFK in Los Angeles, California.

This organization is also responsible for managing everything related to Pacifica Network, which, in turn, runs much more than a hundred affiliated stations with all kinds of shows and content, although it specializes on political and social issues to varying degrees. It is the oldest radio network in the country and the oldest non-profit network in the world, which speaks of Pacifica’s relevance compared to other media.

It was founded in 1946 by E. John Lewis and Lewis Hill after the Second World War. Both men were totally anti-war and refused to perform military service as conscientious objectors. They joined other pacifists to create Pacifica Foundation, whose first station started to air on April 15, 1949 in Berkeley, California.

Being true to the beliefs with which they started this project, the founders gave voice to all those who were against the Korean War the following year along with many other minorities who could not find means of communication to express their views contrary to the majority position of the time.

The station started operating in several cities over the years due to its enormous success and the following radio stations were created in several cities: KPFA/94.1 and KPFB/89.3 in Berkeley, California (San Francisco Bay Area), KPFK/90.7 in Los Angeles, WBAI/99.5 in New York, KPFT/90.1 in Houston and WPFW/89.3 in Washington, DC.

Lewis Hill, co-founder of KPFA and Pacifica Radio

Operation

Pacifica is governed by a board of directors that sets out the policies that determine the organization and oversees the network operations. The board is comprised of representatives from each of the stations that comprise the foundation, as well as directors elected by the Pacifica community.

The members of this board are elected and replaced every three years and have regular meetings to discuss issues related to the operation of the foundation and decision-making regarding the management of the network. It is from there that the use of resources donated by the audience is being decided.

The board members are as follows:

Lydia Brazon (Chair), representing KPFT in Houston, Texas

Sabrina Jacobs (Vice-Chair), representing KPFA in Berkeley, California

Alex Steinberg (Secretary), representing WBAI in New York City, New York

Donald Goldmacher (Treasurer), representing KPFA in Berkeley, California

Christina Huggins, representing WPFW in Washington, D.C.

T.M. Scruggs, representing WBAI in New York City, New York

Janet Coleman, representing WBAI in New York City, New York

Cerene Roberts, representing KPFA in Berkeley

Pacifica Foundation’s Latino shows

If there is something Pacifica Radio has stood out is for the enormous space provided to the Latino community to spread its music and culture in general. That is why there have been many shows entirely dedicated to these topics and whose hosts have been Latinos or children of Latinos.

KPFA has Luis Medina and Emiliano Echeverría, who are in charge of hosting the show ”Con Sabor”, which specializes in artists and news related to salsa, Latin jazz, Afro-Cuban and Afro-Caribbean music, among other genres. In addition, they also interview these artists, provide the audience with the musical calendar and offer concert tickets.

Broadcasters Luis Medina, Chata Rodríguez, and Emiliano Echeverria

In the case of KPFK, the Latin community has the well-known show ”Canto Tropical” hosted by Kathy Diaz and Hector Resendez, whose work is focused on promoting the main Latin music genres such as Latin jazz, Afro-Cuban music and salsa. They also focus on interviewing and giving space to both local and foreign artists to promote their talent and be made known to the widest possible audience.

Host of ''Canto Tropical'' Kathy Díaz and host of ''Alma Del Barrio'' Eddie López — Host of ”Canto Tropical” Kathy Díaz and host of ”Alma Del Barrio” Eddie López

On WBAI, ”Salsa Con Candela” is a weekly celebration of the rich history and diversity of the salsa music genre. The show hosted by DJ Candela includes a mix of classic and contemporary songs, as well as interesting and enlightening interviews with artists and important figures in Latin music culture.

Another noteworthy Latin program is ”Salsa y más” on KPFT, which explores in detail the world of salsa and other important Latin genres. The program hosted by DJ Leonard Trujillo, as well as ”Salsa Con Candela” also offers a mix of Latin and contemporary songs along with interviews with local and international artists.

And finally, WPFW has ”Latin Flavor”, a program dedicated to the most important Latin genres such as salsa, Latin jazz and many others. The show hosted by DJ Jim Byers explores the cultural and historical roots of Latin music and provides a platform to present new artists from around the world.

Controversy

Since the beginning of this foundation, its stations have been embroiled in a series of scandals that have not gone unnoticed by telecommunications and the community at large, especially political and ideological. Among the many events suffered by Pacifica, we cannot fail to mention the requests from the government to obtain the recordings of some shows, controversial interviews such as the one with Che Guevara, reports about embezzlement of funds, financial crisis, among many other things.

In 2020, it was learned that some Pacifica listeners, volunteers and donors have created an organization called Pacifica Safety Net with which they seek to expose mishandling and attitudes of Pacifica’s board members, whom they accuse of compromising the main mission of the station network. The members of this group have filed a lawsuit against this board for prevarication and mismanagement, assuring that the board’s lack of leadership resulted in the loss of many revenues in the station network and, therefore, caused a serious problem of solvency in the organization.

A great example of this mismanagement is the reduction from 120,000 to 40,000 members the network has today, as was the case in just a few years. There are also many complaints about the type of programmes broadcast by the network in recent years due to their high content of hate, conspiracy theories, racism and a lot of things that did not represent the values upon which Pacifica Foundation was based.

In that sense, the members of the aforementioned committee make an urgent call to all members of the radio network to recover these spaces to go back to the main mission of the foundation, which unfortunately has been taken by other interests completely unrelated to those of the donors, workers and listeners.

In 2019, the network was able to get a $3 million loan that would allow it to pay part of the debt accumulated up to that date, but the possibility of the foundation achieving long-term financial stability is not even close to being a fact. Due to mismanagement, the foundation is not able to pay this amount back, so it is forced to cut costs. This reduction in income is causing the board of directors to seek to sell the building where WBAI operates, which had been given by the Empire State Realty Trust (ESRT) in exchange for a rental agreement that is quite detrimental to the foundation from the point of view of current and former workers.

The Empire State Building, where WBAI FM is located now

Wit regard to this issue, Mexican broadcaster Jesse ”Chuy” Varela, who worked for several years at KPFA, told us a little about the irregularities presented both there and at other stations where he worked. The radio professional points out that there have always been serious communication problems between administrations and workers. ”The board always thinks they can do something better with the money raised and spend a lot of resources without notifying the audience about what they are doing. When you ask for money from the listeners, they have to trust that when they give it to you, you are going to put it to good use” declared Varela.

”I knew of many cases where executives who had meetings in different cities, stayed in expensive hotels and ate in exclusive restaurants. I consider this is an abuse and a lack of respect for those who donate their money. I have seen this in all the stations where I worked unfortunately. In this sense, trade unions play a fundamental role to avoid these kinds of problems” the broadcaster continued.

Announcer Jesse ''Chuy'' Varela at KCSM Jazz 91 — Announcer Jesse ”Chuy” Varela at KCSM Jazz 91

As for other announcers and former Pacifica Radio employees or managers, they did not want to make comments in this respect. We presume that this could be because of possible reprisals due to the power accumulated by the largest radio network in the United States.

It should be noted that everything written here is based on testimonies of others that have not yet been confirmed, so we neither confirm nor deny any of the facts as presented here.

Tribute to Eddie López for his career

How were his beginnings?

On January 10, 2023, the death of Eddie Lopez has been made known, who has been one of the greatest pillars of the radio station KXLU since 1976 when he started his career as a DJ. His arrival came during the third anniversary of the famous program ”Alma Del Barrio”, being a fundamental piece in the huge success the show had during several decades and making it remain part of the programming of the already mentioned radio station.

Host of the radio show ''Alma Del Barrio'' Eddie López — Host of the radio show ”Alma Del Barrio” Eddie López

A little bit of his life

Eddie Lopez was originally from Los Angeles and spent much of his childhood in his father’s photography studio, which may have been one of his greatest inspirations to dedicate his life to the arts in adulthood. After graduating from Cathedra High School, he was admitted to Pepperdine University, but switched to Loyola Marymount University, from where he finally graduated in 1978.

Although much of his professional career was spent at KVEA Channel 52 Telemundo, he spent 46 years working at ”Alma Del Barrio” and streaming the best Afro-Cuban music through the waves of KXLU from 2pm to 6pm. During all these years, Eddie always said that he wanted ”Alma Del Barrio” to be as professional as possible and encouraged all his colleagues to always be better every day to give their best to the audience. He also said that this show was not only a work team with common interests, but a family in which everyone supported each other to achieve their goals.

All those involved in his life who came to know him say that he was a man completely dedicated to his family who deeply loved his wife Vanessa and his daughter Nina, who were always his greatest motivation to get ahead day by day. He was loved by all his family and friends, who are very sorry for this sad loss in the Latino cultural world of Los Angeles and the United States in general.

Reactions to his passing

In the social networks of ”Alma Del Barrio”, the sorrow of the team over the physical disappearance of the host can be clearly seen. On the Facebook account of the show, there are several messages referring to all that Eddie achieved during his professional life and all that he contributed to the show ”Alma Del Barrio” and to the radio station KXLU. These comments are accompanied by photographs in which Lopez can be seen carrying out his work with the enthusiasm that characterized him in those periods when he practiced the profession he so loved, which was communication.

One of those who mourned the loss of the broadcaster was the host of the program ADB, Alan Geik, who had been his personal friend for decades thanks to the passion for the media they both shared. It all started when Eddie hired Alan to host a evening show called ”Latin Dimensions” at a station that works in a small classroom.

Geik did not have any plans to become a broadcaster at the time, but Lopez convinced him by telling him it could be a great adventure and a learning experience for himself. When he accepted, he never thought that the programme presented by him would multiply the number of audience several times over thanks to the popularity he was gradually acquiring. Not to mention that the station where the program was aired moved to better facilities and became a radio power.

The host ends his note of mourning by expressing that he is proud to have been such a good friend of Eddie and all that they achieved together thanks to the professional team they formed during such a long time.

Eddie López working at the radio station

Two radio programs of the salsa movement in California

Introduction

After the entire journey, the cultural salsa movement in the state of California is well established, which includes a good number of media outlets that focus on this and other Latin music genres. In this article, we are going to talk a little about two very important radio shows in Los Angeles, which play a very important role in the spread of salsa and its greatest exponents today.

They are the radio shows ”Alma Del Barrio” and ”Canto Tropical”, whose work has provided an immense contribution to the world of music and gained a huge audience both in Los Angeles and in the rest of the world.

Alma Del Barrio

In the autumn of 1973, what would become one of the most important Latin radio shows in Los Angeles started to go on the air, which is known as ”Alma Del Barrio” to this day and its main founders were Enrique Soto and Raul Villa, who were still university students at the time. What Raul and Enrique were looking for with this show was to educate the audience musically speaking and ensure that listeners to learn much more about their favorite artists.

A key part of this show is to interview the greatest exponents of the salsa genre and some of these have been Celia Cruz, Chucho Valdes, Manny Oquendo, Tito Puente, Roberto Roena and many more. Thanks to these conversations, fans of these artists have managed to learn more about their favorite artists and their future projects.

From the day of its founding, the show has been broadcast through the radio waves of KXLU, which is one of the largest radio stations in Los Angeles and offers all kinds of variety and musical genres in its programming.

Host Eddie López and Venezuelan Latin music bandleader Rudy Regalado

Canto Tropical

”Canto Tropical” is a radio show created with the firm intention of serving as a bridge to unite generations, cultures and countries that appear to not have anything to do with each other. The main musical genres on which the programming is based are salsa, Latin jazz, merengue, Afro-Cuban rhythms, among others. The music comes from all over the world, but most of the material comes from South and Central America and the Caribbean.

In addition to being always aware of the latest Latin music, hosts Kathy Diaz and Hector Resendez always make sure to get the best interviews with the most famous local and foreign artists so that their fans can get to know them better both personally and professionally. Likewise, listeners have the possibility to participate in contests and sweeptakes to win free tickets to concerts and events that are of their interest.

One of the requirements to be met by the show is to always invite local artists and singers to help them promote their music, new albums and concerts. In this way, the audience is aware of what local talent is currently doing. In fact, there are many figures who are still thankful for the exposure given the program, thanks to which they have achieved the popularity they were seeking.

Another detail that cannot be overlooked is that several social and community organizations have publicly thanked the show for its voluntary work and its hosts Kathy and Hector, who have even written for major publications such as Hispanic, Bilboard Magazine CASHBOX, among others.

Alma Del Barrio’s logo

Marco Bermúdez extraordinary Musician, Percussionist, Singer, Composer

On october 19, 1961 in Portoviejo, Ecuador, Marco Bermudez Brito was born. Extraordinary Musician, Percussionist, Singer, Composer.

Nobody is a prophet in his own land. At the age of 23 he traveled to the United States as a singer. And in 2004, being a member of the Spanish Harlem Orchestra (SHO), he won the Grammy in the category Best Salsa Album for the album Across 110th street.

On a day like today, October 20, Marco Bermudez was born in Portoviejo, Ecuador. He is an excellent performer, composer and studio musician in all styles of Latin music.

He was born into a family with a rich musical heritage and has resided in New York for the past thirty-four years. Marco has toured the world with Latin music greats: Tito Puente, Celia Cruz, Cheo Feliciano, Oscar D’ Leon, Tito Nieves, Domingo Quiñones, Jose Alberto and all the artists on the RMM Records label.

Marco’s discography includes: RMM All Stars 10th Anniversary CD/DVD Live at the Continental Arena New Jersey; Recorded a Selena (RMM) and Tropical Tribute to the Beatles CD/DVD recorded live at Radio City Music Hall in New York.

Marco is currently one of the singers of the Spanish Harlem Orchestra. As a performer and composer, Bermudez has collaborated in the record productions of the SHO, writing the lyrics of the songs Son de Corazón, Regalo de Dios, Qué Bonito, La Fiesta began.

(One more year of life for this Ecuadorian performer, composer and musician who has performed in different variations of Latin music.

Experiences with Isidro Infante y La Élite, Conjunto Clásico, Tito Puente, Celia Cruz, Cheo Feliciano, Oscar D’León, Tito Nieves, Domingo Quiñones, José Alberto “El canario”, and Ralph Mercado’s RMM Records family in which he participated in productions such as “RMM All Stars 10th Anniversary – Live in Continental Arena of New Jersey”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, “Recorded a Selena”, and “Recorded a Selena”; the album “Recorded a Selena” (RMM) and “Tropical Tribute to the Beatles”, a CD/DVD recorded live at Radio City Music Hall in New York.

The pinnacle of his career came when he became part of the Spanish Harlem Orchestra’s line-up of singers, collaborating in different record productions and strengthening his facet as a composer through titles such as “Son de corazón”, “Qué bonito”, “Regalo de Dios” and “La fiesta empezó”.

He has also been part of The Mambo Legends project sharing microphones with Frankie Vázquez and Jorge Maldonado.His story is told to us when he was in Ecuador on vacation with his wife.

“From a very young age, I was always surrounded by music,” she says proudly. He refers to his parents, siblings and most of all to his uncle, the great singer Eduardo Brito.

Marco, at the age of 9, together with his brother Eduardo formed the duo Hermanos Bermúdez Brito, being the first to record the pasillo Romance de la tejedora manabita, lyrics by Paco del Casty and music by Filemón Macías, Marco’s uncle: “Con horma de esperanzas/y encajes de clavellina/ va tejiendo su sombrero/ la manabita más linda” (With a last of hopes/and lace of carnation/ she weaves her hat/ the prettiest manabita).

In the early eighties, brothers Mariano and Venancio Larrea invited him to join the Marfil group, from Guayaquil. That was when the group turned to salsa music, which was just becoming popular in these parts.

But his life and stage changed in 1984, when he and his brother joined the Manabita orchestra Los Profetas, which would perform in Los Angeles, Miami and Chicago.

With the illusion of succeeding in the north, Bermúdez stayed and formed El Combo de Nueva York, which was the staff orchestra of a chain of nightclubs in Queens.

At that time, Marco was concerned about his musical training, besides being a singer and composer, he was also a percussionist. His entry into the big leagues of salsa came when he was part of La Élite, led by maestro Isidro Infante, for 6 years.

There he achieved fame as the interpreter of the songs Santo, Militar and Montuno and for the album Tributo Tropical a Los Beatles.

He was also part of La Charanga de Johnny Almendra and Los Jóvenes del Barrio, and was one of the singers of the legendary Conjunto Clásico orchestra. “Even when there is a tour they call me because I know the repertoire and I know the routine”.

At the beginning of 2003 he made a great leap when he joined the SHO, an orchestra that besides winning the Grammy and achieving nominations for two of its albums, is considered “the best salsa orchestra in the world”, according to the Puerto Rican critic Jaime Torres Torres, who in referring to Bermúdez affirms: “He is the only recognized Ecuadorian salsa singer who dominates the difficult art of soneo and clave”.

About the renowned SHO, Bermúdez says that in reality this orchestra “is the sound of the Harlem neighborhood, where urban salsa was born.

We are inspired by masters like Tito Puente and Mario Bauza, who left us that legacy”. And although every salsa singer is mistakenly called a sonero, very few are.

The soneo is an improvisation by the singer when the percussionist solos on the drums, he explains.

The next SHO album will feature three songs by Bermúdez: Son de corazón, Regalo de Dios and La fiesta empezó. “I like to write everything, romantic, jocular, nature and rumba songs,” says Marco who is currently selecting songs for his solo album which he hopes will be released this year. It will include a recording with Las Leyendas del Mambo, Tito Puente’s legendary orchestra.

These are his plans. His dream: “to come to Ecuador as a soloist or with SHO because I have had recognition abroad, but it must be nice to be recognized in your country”. Although they say that no one is a prophet in his own land, Bermúdez, the sonero, will surely be.

At the age of 9, together with his brother Eduardo, he formed the duo Hermanos Bermúdez Brito, being the first to record the pasillo Romance de la tejedora manabita.

In the early eighties, the brothers Mariano and Venancio Larrea invited him to join the Marfil group, from Guayaquil.

In 1984, together with his brother, he joined the Manabita orchestra Los Profetas, which would perform in the United States. He stayed in New York and formed El Combo de Nueva York, which was the staff orchestra of a chain of nightclubs in Queens.

Later he was part of La Élite, led by maestro Isidro Infante, for 6 years.

He was also part of La Charanga de Johnny Almendra and Los Jóvenes del Barrio, and was one of the singers of the Conjunto Clásico orchestra.

At the beginning of 2003 he joined the “Spanish Harlem Orquestra” of Maestro Oscar Hernandez. He has collaborated, among others, with the band of “Mister Moña” Jimmy Bosch and “La Mambo Legends.

You can read: Héctor “Bomberito” Zarzuela Calidad y Tuning en la Maquinaria Fania All-Star

Marco Bermudez