Search Results for: Música Latina

We continue working to enhance Salsa

This month I want to continue sharing good news for everyone in NY and in the Salsa world. On this occasion, Oscar Hernández and Spanish Harlem Orquesta join Spaha Salsa Gallery Museum. Oscar has donated an incredible piece that we will be exhibiting immediately.

Four times Grammy Award Winner, Oscar Hernández, has long been considered one of the most gifted and prominent pianist / arrangers on the contemporary Latin, Latin-jazz and salsa music scene. He has achieved legendary status for his prolific career spanning now over 40 years.

Hernández is the leader of the world renowned Spanish Harlem Orchestra. Won the Grammy for their second CD release, “Across 110th Street” and winning yet another Grammy with their 4th CD “Viva La Tradition” and won their 3rd Grammy with “Anniversary” in 2019. Oscar was the music producer as well as pianist / arranger on all CD’s.

Since the band’s inception in the year 2001, SHO has garnered numerous awards and world acclaim as one of the finest exponents of Salsa and Latin / Jazz music. Spanish Harlem Orchestra is generally considered one of the best Salsa & Latin Jazz Orchestras today and one of the finest music ensembles in the world.

The Bronx native has produced such artists as Ruben Blades, Paul Simon, Willie Colón “Carabali”, Daniel Ponce, Rafael Dejesus, Eddie Torres, Phil Hernandez, Steve Kroon, Juan Luis Guerra, etc.

In addition to being Rubén Blades pianist, arranger and musical director, Oscar Hernández has enjoyed a prolific musical career recording and performing with such world renown artists as Latin music king Tito Puente, Queen of Salsa Music Celia Cruz, Latin Pop Star Julio Iglesias, Juan Luis Guerra, Ray Barreto, Earl Klugh, Dave Valentin, Johnny Pacheco, Ismael Miranda, Pete “Conde” Rodríquez, Oscar De’ Leon, Luis “Perico” Ortiz, “Libre” “Grupo Folkorico Experimental “, Willie Colón, Kirsty MacColl, etc. Oscar’s musical exploits include working as Musical Director / Conductor, arranging and producing the music for “The Capeman,” pop-rock icon Paul Simon’s Broadway musical.

Oscar is also the music producer of “The Capeman” cast recording. Oscar was Musical Director / Arranger for the hit shows “Quén Mató a Hector Lavoe” and “La Lupe” at the 47th Street Theater. He was also, Music Supervisor / Arranger for the show “Four Guys named Jose & Una Mujer named María” Oscar also has released 2 CD’s as a solo artist, Oscar Hernández & Alma Libre, titled “The Art of Latin Jazz” and “Love The Moment ”on Origin Records. It is a true honor to have the donation of an incomparable musician like him in our museum. Thanks, Oscar!

Another of the great figures of the Spanish Salsa Harlem Orchestra is Luisito Quintero, the timbalero from Venezuela. Luisito Quintero was born in Caracas, Venezuela where he had his first contact with music. Cultural influences of Afro-Venezuelan rhythms were always present at home. His father, a highly respected percussionist, taught and encouraged Luisito to play the timpani in his teens.

Quintero continued to refine his playing level with the Venezuela Symphony Orchestra, where his technique for playing the timpani soon caught the attention of his colleagues. Subsequently, he joined the popular music groups Guaco and the Trabuco Venezolano and traveled with Oscar D ‘León with whom he achievedan important international projection. The live performances, recordings and projects in which he has participated are countless.

He has made his mark as a percussionist with figures such as Tito Puente, Eddie Palmieri, Marc Anthony, Gloria Estefan, Richard Bona, Jack Dejonette, Willie Colón, George Benson, Natalie Cole, Herbie Hancock, Nuyorican Soul, Masters at Work, and of course, The Spanish Harlem Orchestra. Luisito is part of the group Elements of life, with whom he has toured for the last years.

The band has shared stages with major artists in the market such as Robert Plant, Lauryn Hill and Alicia Keys, performing at festivals such as Montreux Jazz Festival in Switzerland, North Sea Jazz Festival in Holland, Roskilde in Denmark, Blue Note in Japan, Jazz Cafe in London, England and the legendary New Morning Cafe in Paris, France. Without a doubt, an impressive and worth mentioning career.

And if we are talking about incredible careers in this edition, I can’t stop talking about Adalberto Santiago and the new projects of the 60th anniversary with great artists of the genre. This his time I can tell you about Cuco Peña’s string arrangements, the participation of Nelson Jaimes and, of course, the help of my friend Freddy Miranda. At 83 years old, he is still in the rumba. There is less and less to show the world this historical piece for the world of salsa.

Johnny Cruz and Adalberto Santiago - Salsa — Johnny Cruz and Adalberto Santiago – Salsa

I also want to remember Raphy Leavitt, on the fifth anniversary of her death on August 5. In 1970 Leavitt organized an orchestra that should have a different sound and style. He wanted to select the repertoire of songs of the orchestra with a particular, positive, social and even philosophical message; and founded “La Selecta”. Since its inception, La Selecta has featured Coamo-born Sammy Marrero as one of its singers.

Marrero, who has always been strongly influenced by the music of the Puerto Rican jíbaro, had an opportunity to teach his dramatic singing style in his first hits as the almost hymn “Jíbaro Soy”, a very patriotic and unusual Puerto Rican song, “Payaso”, and “The Good Shepherd”. However, it is in the band’s signature song, “La Cuna Blanca,” that Marrero’s voice is for the most part associated.

In the 1990s, he established his record recording company, R.L. Records. The company’s first production was the album titled “Provocame,” which became a hit in Puerto Rico, the United States, and South America.

In 1978, Leavitt discovered a young singer named Tony Vega, who became a legend among salsa singers on his own merit. Raphy Leavitt and La Selecta were responsible for the introduction of salsa in many countries. Raphy passed away in Miami as a result of an operation of the hip prosthesis that had been installed due to an accident in 1972, and that he had become infected. Leavitt passed away in his sleep. Raphy will always be endorsers of the Salsa Museum with the clown suit of its 25th anniversary.

I also want to thank the constant and significant support for the Museum, from my friend Sully Díaz, who as endorser of the museum, is always working to promote and make our work reach more people. Sully was born in New York, the daughter of Sephardic parents from Puerto Rico. She began her career as a model, and at the age of 17 she began acting in Spanish soap operas, making herself a well-known figure on television in Puerto Rico.

In 1983 she became popular throughout Latin America with the role of Coralito, in the telenovela of the same name. From that moment on, Sully was known as “the queen of Puerto Rican soap operas.” In the early 1990s, Sully moved to Hollywood and appeared on various television shows as a guest star and worked on a few movies.

In the mid-1990s, Sully joined four other Latina women (Dyana Ortelli, Marilyn, Ludo Vika, and Lydia Nicole) in a comedy group called “The Hot & Spicey Mamitas”. They sold out at several Los Angeles comedy clubs. They recorded a CD live called simply The Hot & Spicey Mamitas.

In 2002 Sully appeared in the play La Lupe: My Life, My Destiny, in which she played the Cuban singer La Lupe. Shortly after the execution of this work, Sully made her own production of La Reina, La Lupe. This work toured all of Puerto Rico and was a great success in Florida. That same year, she starred in the Puerto Rican thriller “Cuéntame tu pena”, in which she plays Isadora, a radio host who receives a call from a woman who is killed while on the air.

In 2004 Sully toured with Gilberto Santa Rosa in a play called “The True Story of Pedro Navaja.” In 2009 Sully appeared in the movie Princess Protection Program as Reina Sofía, along with Selena Gómez and Demi Lovato.

Papo Rosario and Isidro Infante - Photo — Papo Rosario and Isidro Infante

Recently, Papo Rosario released his new single “Gracias” produced by arranger and musician Isidro Infante. Rosario appreciates being alive and being able to walk after being bedridden as a result of a car accident. Papo Rosario is a world-class artist who has put the name of Puerto Rico on high. Rosario, who retired in 2019 from the group considered the “University of Salsa”, El Gran combo de Puerto Rico, after having an accident and presenting health problems, affirms that he already feels ready to resume his musical career with the Launch of his first solo production by producer Isidro Infante. I wish you success in this new beginning.

The invitation to tune in to the new Fm / Internet radio station on Live365.com: Salsagallery continues. Great music, artist interviews and much more.

At the Spanish Harlem Salsa Gallery Museum we are happy to affirm that New York City is preparing to resume its activities little by little. We hope to have more news soon and that we can return to normal soon.

By Johnny Cruz, ISM Correspondent, New York, New York City

Influence of Latin Music in Europe and Vice Versa

European union

When we refer to any Latin element that has been influential at the European continent or vice versa, it is almost inevitable that we think back to the Discovery of the Americas on the part of Christopher Columbus.

It was about this time when various instruments present in cumbia and salsa started to be used. No wonder we attach so much importance to this event, as this is how Spanish and the Portuguese arrived in the so-called New World. It is no coincidence that these languages are the protagonists of these rhythms at this time.

While it is true that Europe gave its languages to Latin music, we cannot fail to mention that the African slave trade played a major role in this context. Its beats and drums closely tied to religious ceremonies were inspirational for salsa, bachata and samba and African-American music, in which the famous Jazz may be included.

Neither can we leave out the fact that many pre-Colombian civilizations created many types of percussion music instruments, which are very present in Andean music and its very traditional flute-like sounds.

What has led Latin American music to become so popular in recent times?

There is no denying that Latin music has achieved a tremendous global reach in recent years, but things were not always like this. In the past, it was ballads of love with heartbreaking lyrics that dominated this market and its primary target audience was female.

With the passing of years, this reality radically changed. We can see it in the emergence of an encouraging number of commercial songs and very simple to dance like La Macarena by Los Del Rio, Livin La Vida Loca by Ricky Martin, A Dios Le Pido by Juanes, among others. These pieces of theme music were the ones that broke the barrier of traditional radio in due course.

Later, hip hop and R&B gave origin to other urban rhythms that took hold of everyone’s attention

Latin music for some time now

That mode of nightclubs of Latin origin that have been inaugurated the length and breadth of the old continent is nothing new. What is new though is the type of attendees received in these places in recent years. There’s a very large audience of all ages who show real interest in rhythms whose language they don’t even know, but they do not seem to care at all. In fact, this peculiarity seems to give an extra touch of excitement to the point. They see Latin music as an array of sounds and rhythms that may not understand, but that simply cannot stop dancing them.

When making a comparison of the monotonous pop style with this recent wave of Latino artists that have been conquering hearts throughout the world, it is evident that things are different now and did not seem to go back to the way they were. What is true is that traditional styles have been overthrown surprisingly.

It is not a secret that singers such as Shakira or Ricky Martin became immensely popular in the late nineties and the early 200All Posts0s, but now things go much further. We are saying that there is a very important number of musicians in these genres that have drawn the attention of all audiences of all ages and countries.

Further, there is a lot of Americans who have appropriated these styles and the Spanish language to give a lot of freshness to their musical projects. A telling example is the Canadian Justin Bieber who has worked with Luis Fonsi and other artists from Latin America, giving as a result a fan base that became interested in these genres and the Spanish language.

It looks like musical lyrics no longer need to be in English to reach all corners of the globe and make everyone dance. In fact, many people look for this type of music to enjoy it, even if they understand little to nothing about it.

Orchestra Latin music playing in the roads

What can we deduce from all this?

After having analysed all these data, we can say that Latin music is a very rich and intense mix of a cluster of cultures that were linked up between them until we find the heterogeneity that we see today. Undeniably, this whole process of miscegenation between so many rhythms would not have been possible under the influence of pre-Columbian, African and European culture. However, the same can be said in the opposite case.

Yes, this also occurs in the contrary case. Europeans’s musical tastes are no longer those of a few decades ago. Nowadays, there are many adults and young people who cannot stop dancing when they listen to certain salsa or merengue songs that have gone across all possible borders.

In short, we are talking about a continuous feedback loop between both cultures that keeps going until now. No musical rhythm is completely pure and Latin rhythms are the perfect example.

Image source 1: http://nuevacaravana.blogspot.com/2010/08/bongo.html

Image source 2: https://presencia.unah.edu.hn/noticias/los-origenes-de-la-musica-y-la-identidad-en-america-latina-4-de-4/

Image source 3: https://www.correo.ca/2015/07/willie-colon-la-clave-es-la-experimentacion/

Image source 4: https://www.youtube.com/watch?v=QH_3h43nGf4

Eva Gordillo, psychologist by profession and director Salseros Academy

Eva Gordillo: The so-called Cuban style is the original way of dancing “casino” or “rueda de casino”.

The first steps of this dance were developed in the sports casino in Havana and other dance halls in the Cuban capital at the end of the 1950s, hence its name in Cuba: “–“, as it was originally called “El baile del casino”.

In Barquisimeto, the musical capital of Venezuela, the dancers of Afro-Caribbean rhythms have a place to develop, improve and learn skills with the help of professionals, who achieve the integration of its participants, creating an atmosphere of great joy for all ages.

In this sense, our special guest in Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsamundi.com, is Eva Gordillo, psychologist by profession and director of the dance academy “Salseros Academy”.

Dancers of Salseros Academy Dance Academy

Eva has been a passionate dancer since the age of 13 and today, with only 22 years old, she has toured most of the dance schools in the twilight city and some outside the state of Lara, projecting and developing herself as an instructor of proven hierarchy and reliability.

Welcome Eva to the only salsa magazine in the world, International Salsa Magazine and Salsa Escrita. Thank you, Professor Carlos, for giving me the opportunity to be present in your prestigious salsa column, which is already recognized in my country, the Caribbean, the United States and Europe, thus supporting the entire existing salsa movement in Venezuela.

Eva Gordillo and Members of the Salseros Academy dance academy

Eva, how and when did the idea of having your own dance academy come up? Friend Carlos, on November 26, 2018, I started and materialized my great dream, my own academy and together with my colleagues and friends, Eleazar Hernandez and Manuel Gamez, we started this adventure, from which today, we are harvesting many fruits and we feel extremely happy with this project and grateful, mainly with God, because everything is thanks to Him.

Excellent, very good friend, by the way, what kind of dances do you develop and teach in “Salseros Academy”? In our academy we give group and personalized classes, for all ages, conditions and levels. Our strength is Latin rhythms, especially Salsa, as our name indicates.

We focus on their different dance ramifications, such as New York style mambo, Salsa en Linea or Los Angeles style, Cuban Timba en Linea and En Rueda or “Salsa Casino”. Amiga Eva, in addition to salsa, do you teach other dance rhythms? Indeed Carlos, in addition we teach some Cuban music derivatives such as the chachachá, pachanga and boogaloo.

We are also projecting ourselves strongly with the bachata and its variants, as well as other Latin genres, such as merengue, among others.

During a visit to the headquarters of “Salseros Academy” in the city of Barquisimeto, by the Latin American correspondent team of International Salsa Magazine, we were able to see the excellent, comfortable and spacious facilities, located on Carrera 16 between Calle 61 and Avenida Rotaria, where Eva is accompanied by four experienced instructors specialized in different dance styles. The attendance and registration of participants is massive, given the proven quality and recognized throughout the city of Barquisimeto.

Friend Eva Gordillo, do you also have other projects at a musical and danceable level? That’s right teacher, at present we are heading to be producers of salsa events, thus promoting the Latin dance movement in our state Lara.

By the way, last year we had the pleasure of carrying out an event called “La Gran Gala de la Salsa” (The Great Salsa Gala), on the occasion of the celebration of the 1st anniversary of our academy, in which the dancers were able to enjoy the “Kadencia Latina” and “Jossy y su Banda” orchestras. Digital platforms and contacts for those interested in dancing at Salseros Academy? Friend Carlos, they are: Instagram: @salserosacademy, @evacarolgz, Whatsapp: 0424-5697908, Facebook: Grupo Salseros.

On behalf of the academy, my team and students, we would like to thank you for your support and projection of our work through your column “Salsa Escrita” in International Salsa Magazine. We wish you success and blessings to continue driving the Venezuelan salsa movement.

By Carlos Colmenares, ISM Journalist Correspondents, Barquisimeto, Venezuela

A walk through the history of Latin music in the United States

Latin music has been of great influence for singers in training and, without a doubt, marked the lives of its pioneers. Some born in Spanish-speaking countries and others with descent from these lands have not been able to put aside the flavor that has been inherited to them. There are those who affirm that these tropical and Caribbean rhythms are carried in the veins and it is very difficult to get rid of these roots.

The arrival of Latinos in the United States also implied the arrival of their customs and culture. Latin music is considered to be a large number of genres, including: salsa, merengue, bachata, bolero, bossa nova, reggaeton, rumba, ranchera, cumbia, tango, among others.

Photo of Latinamerican Festival at Nagoya in Golden Week

Latinamerican Festival at Nagoya in Golden Week

How did Latin music begin to enter the United States?

Latin American music has influenced American music, starting from jazz to country music. Many bands added congas, percussion, or maracas to their instruments as they were drawn to the result these elements brought.

Starting in 1940, the music of Latin America, which still did not have a specific term, covered a greater number of audiences in the United States; international radio networks broadcast different themes of the time. In addition, they featured different Mexican bolero musicians such as Alfredo Antonini, Néstor Mesta Chayres, Eva Garza and Juan Arvizu. In the 1940s the US also heard the “Calypso” with great acceptance.

It was not until the 1950s that the term “Latin music” became popular, seeking to establish a difference between Afro-American and Afro-Latin American rhythms. Some artists marked this musical fusion to a greater extent, making the best of Latin music known on American soil. During the 1950s, music brought to the north from the island of Cuba, such as mambo, cha-cha, and rumba, was very popular. As well as the famous Mexican songs: rancheras and mariachis.

Some Latino artists who marked the history of Latin music in the United States Tito Puente was an American percussionist with Dominican origins remembered for his participation in worldwide jazz, Cuban music and salsa. In 1950 he helped promote the genre of mambo and cha-cha. His album “Dance Manía” was considered the most famous by the artist, it was one of the most heard among the Latino community in the US The album also set a precedent by being recorded in Spanish, generally, Latin albums were in English or with instrumental songs. It was Tito Puente who broke with this tradition.

At the beginning of the 20th century, tango touched American soil. Then, in the 70s, the Argentine Astor Piazzolla gave something to talk about by demonstrating his passion for the genre and revolutionizing what was known until that moment. Piazzolla was born in Mar de Plata but lived in New York from a very young age. It definitely changed the way of looking at music that was long marginalized, it was considered the music of the working class. The singer made mixtures between tango, jazz and contemporary classical music. His songs were a great success and were famous in bars of the time.

It was not until the late 1960s and early 1970s that the term “salsa” began to become known. Afro-Caribbean musicians mixed Cuban dance with influences from jazz, Caribbean music, and American rhythms. Although in previous decades it had already had its beginnings, it was in the streets of New York where it was consolidated as a commercial success.

Photo by Celia Cruz and Tito Puente

Celia Cruz and Tito Puente – Latin music

Salsa launched artists who are now legends to stardom, such as: Celia Cruz, Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, among others.

Between the 1970s and 1990s, Dominican immigrants to the United States continued, especially to New York City, and promoted genres such as merengue and bachata. Juan Luis Guerra was one of the great exponents of both styles.

In the 90s, Selena mixed the Texan aesthetic with pop, giving her the title of the highest representative of the genre.

Entering the 2000s

In this decade, Latin rhythms continued to set the trend. Singers like Rubén Blades returned with songs that promised to be hits in the country.

At the end of 1999 Marc Anthony surprised his followers with an album of the same name. Although he was already known in the salsa genre, he decided to try other styles. With the intention of reaching the Anglo market, he is encouraged to sing in English. “I Need To Know” is a cha-cha song that quickly became popular in the United States. For eleven weeks it remained in the top North American positions, ranking in the Top 10 on the Billboard. The Spanish version won the Grammy for the best Latin song of the year 2000.

Marc Anthony was one of the artists who marked this decade in the US That same year a compilation of his best salsa songs went on sale, which he called: “Desde el principio”. With these successes to his credit within this country, he set out to make an important tour of the United States. Canada and Central America. Madison Square Garden in New York was overflowing with fans who wanted to hear this American singer but who positioned himself as the leader of a Latin genre.

Photo by Marc Anthony

Marc Anthony

The opening of “I Need To Know” appeared in the Nissan Versa commercial in the United States and in 2009 it also featured in an American Dad chapter, an American television series; thus giving greater projection to this genre throughout the North American territory.

During this decade, salsa and Latin music in general ended up positioning themselves in the United States.

In 2002 Blades launched his album “Mundo”, becoming one of the most popular in the United States. In fact, it won a Grammy. The album contained a mix of various rhythms and instruments. The artist wanted to create a fusion of cultures and musicians from different countries. “Estampa” was a subject with great acceptance as it evoked the Afro-Cuban influence in New York music.

By the year 2000, there were already music channels and with them the projection of emerging talents who in many cases did not speak the English language. The dynamics of these channels focused on the public, who chose which songs and videos were to be played, giving the opportunity to many young, little-known artists. They were also considered a springboard for the singers of the season and the Latin movement in general.

A movement that is here to stay

Latin music had come to continue making history and it was time to give it greater merit within the American spectacle.

Today, Latin singers, songwriters, and bands are innumerable. Latin music continues to gain space in the United States and more and more artists are achieving success within its borders. In addition, the endless awards that enhance their work in the industry.

Ruben Blades - Mundo

Ruben Blades – Mundo

The consumption of these musical rhythms has increased throughout the American territory. Latinos and followers of this genre have gained space over the years; they can enjoy nightspots, live music, festivals, concerts and much more. Long live Latin America and its people! Long live the United States and the countries that have opened their doors to Latin music

Honor to whom honor is due – Johnny Cruz

This month I hope to be able to pay tribute to great figures of our Latin music, who have worked tirelessly for years to make our music very high.

I want to greet my great friend Larry Harlow and wish him a speedy recovery. Larry Harlow is an American artist and performer, composer and producer of Cuban son, Montuno, Afro-Cuban jazz, mambo, guaracha, cha-cha, and salsa, hailing from Brooklyn, New York. Harlow, who is known for his mix of Afro-Cuban jazz and piano playing styles, studied music in the 1950s in Cuba, but was unable to complete his studies before the 1959 Cuban Revolution, forcing him to leave the island.

The Harlow Orchestra was the first to sign with Fania Records, Harlow has also produced more than 106 albums by various artists and more than 50 albums of his own authorship, in addition to those he produced for Fania. Among his most popular albums were “Abran Paso” and “Tributo a Arsenio Rodríguez” with Ismael Miranda as the vocalist. He also appeared with La Fania All-Stars, in the film, Nuestra Cosa Latina.

Harlow recorded one of his most momentous albums in just two days. Under the simple title of Salsa, it pays homage to the Cuban roots of tropical music, combining the sound of trumpets and trombones with two violins that evoke the aesthetics of the charanga of groups such as Orquesta Aragón.

With “The portfolio”, a version of a song by Arsenio Rodríguez, Harlow finds his greatest success. Thanks to the singers Adalberto Santiago and Junior González, the nickname “the wonderful Jew” arises. In 1972, salsa was in full swing. Larry Harlow, meditates on a musical concept for the Afro-Caribbean music market. Inspired by the success of the Anglo-Saxon opera, “Tommy”, Harlow was preparing for the launch of a similar concept, aimed at the salsa market.

For 1973 the opera Hommy, using the lyrics of Heny Álvarez, tells the story of a boy who, although blind and deaf, had a great talent for percussion. The outstanding musicians of the time and singers such as Justo Betancourt, Cheo Feliciano, Adalberto Santiago, Junior González, Pete “El Conde” Rodríguez and Celia Cruz joined.

The combination of musicians and voices achieved its goal with a recording that established a lecture in the history of Afro-Caribbean music with a radiant exhibition that captured the airwaves and the imagination of the salsa audience. The songs “Es un Varón”, “El Día De Navidad”, “Quirinbomboro”, “Gracia Divina”, “Cari-Caridad” and “Soy Sensacional” were undoubted radio hits that became themes of dance and discussion among all the salseros.

It was the first time that an opera, Spanish-speaking, and in the salsa guild, was directed to the populace. Salsa got dressed up and that legacy opened the doors for the Afro-Caribbean musical tradition to now visit the most prestigious venues in the world.

That is the legacy of “Hommy”, one of the best recordings of the time, which brought together the best musicians of the moment in an expression that transcended time; and, in turn, he brought Celia Cruz to the salsa market and placed her in a seat of honor which she never left. But more importantly, “Hommy” took Salsa to a new place among audiences. What a contribution from Larry Harlow!

I also want to send my regards and appreciation to Ralph Irizarry. Recognized as one of the timpanists with the greatest “swing”, Ralph Irizarry has a distinctive style that has allowed him to leave an indelible mark in the groups where he has played. Born in Harlem Latino New Yorker, Ralph is a self-taught musician who learned his trade by listening to his brother’s records and the music of his idols in nightclubs, where he used to sneak into when he was 16 years old.

His family moved to Puerto Rico when Ralph was in his teens; There he acquired his first professional experiences with La Terrífica, El Gran Combo, La Sonora Ponceña and many other groups. After three years on the island, Ralph returned to New York, where he began playing with local groups.

One winter night in 1978, he met the legendary Ray Barreto at Manhattan’s Corso Nightclub and began a productive working relationship that would result in five extraordinary recordings. Ralph has recorded with David Byrne, Paul Simon, Harry Belafonte, Earl Klugh, Juan Luis Guerra, Cachao, Celia Cruz and Yomo Toro, although he is widely recognized for his musical relationship with Rubén Blades and Seis Del Solar, with whom he remained. recording and performing internationally for 13 years.

His musical contributions have also been fundamental in the recording of two Latin jazz albums made by Seis del Solar for the Messidor Records label. Currently, he is one of the most sought after musicians who has kept working on commercials and film and television soundtracks.

His charisma also allowed him to develop an unexpected acting career: he acted in The Mambo Kings, playing the role of Pito Fernández. In the summer of 1996, Ralph participated along with Tito Puente in the show Master Timbaleros, presented at S.O.B.’s in New York. This historic concert was the culmination of 26 years of dedication, practice, and love of music. He founded the group Timbalaye, a septet with a strong big band sound.

The group combines contemporary Latin jazz with diverse tropical rhythms (timba and songo) and traditional Afro-Cuban rhythms (bomba, cha cha chá and son montuno). Their innovative sound has allowed the group to perform weekly at various venues in New York. Among his most recent projects is a recording at Birdland for a compilation to be released by the RCA Records label. Timbalaye is considered the force of Latin jazz. My hug and respect to you Ralph!

I am happy to express my gratitude and admiration to a powerful woman, Director of Taínos Tower and Vice President of the Museum of Salsa: María Cruz.

María Cruz was born in Carolina, Puerto Rico. In 1966 she came to New York looking for new opportunities. While studying at Manhattan Community College, she began working with the East Harlem Pilot Block Redevelopment Project. Although she may have had no idea at the time, that job was the beginning of her career as a community activist and advocate for social services. As a community worker at the East Harlem Pilot Block, she helped design and offer a tenant orientation in preparation for the occupation at Taino Towers.

Later, she became a Building Representative and worked with tenants regarding apartment issues, rent, social service issues, and Section 8. Maria Cruz has been involved in many community activities:

From 1984 to 1989; She served as president of the Tenants Association of her apartment building. She was vice president of the East Harlem Little League Baseball organization. In her spare time, she organized bus trips for neighborhood children to amusement parks and ball games. Encouraged and assisted several tenants to return to school and continue their education, so that they can be trained and empowered to return to the workforce and leave Public Assistance. Ms. Cruz earned her RAM (Registered Apartment Manager) certificate from NYU and is registered as a Certified Leasing Professional.

Currently, Ms. Cruz is the Executive Director of ARCO Management Inc. / Taino Towers. She has always been a strong activist for the community. In the summer of 1999, Ms. Cruz organized the first annual Taino Family Day. Day in which all residents and members of the East Harlem community participate and celebrate a day of unity. On Taino Family Day, residents rent “kioscos” food stalls and sell various ethnic foods, dance to the rhythm of various musical bands, and children enjoy activities such as face painting, puppet theater, and a petting zoo.

Each year, Ms. Cruz focuses on a different topic such as: education, music, tributes, and family values. As Executive Director, one of her greatest accomplishments was the renovation of the Touro College building. She is currently a board member of the East Harlem Council for Human Services and works closely with local politicians and representatives.

In 2002, Ms. Cruz along with Irving “Magic” Johnson opened the Magic Johnson Computer Learning Center. This program provides computer classes to Taino Towers and the East Harlem Community. As Executive Director, she was also able to oversee the completion of the Senior Park at Taino Towers.

In the summer of 2003, voted by the majority of the tenants, the Park for the elderly was renamed the Maria Cruz Park for the elderly. In September 2019, she was honored with the Eugenio María de Hostos Award from the Puerto Rican National Association for her commitment to the East Harlem Community. People like Mrs. Cruz are exemplary citizens of the Latino community in the United States, and in New York.

Do not stop listening to the new single: “Gracias”, and the first solo production of Papo Rosario, produced by the arranger and musician Isidro Infante. Rosario is grateful to be alive and to be able to walk after being bedridden as a result of a car accident. Papo Rosario is a world-class artist who has put the name of Puerto Rico high. Rosario, withdrew in 2019 from the group considered the “university of salsa”, El Gran combo de Puerto Rico, after having an accident and presenting health problems. Now, he affirms that he already feels ready to resume his musical career with the launch of his first solo production by producer Isidro Infante. Much success in this new stage.

I highly recommend that you follow the track of Quintero’s Salsa Project, a Venezuelan salsa group based in New York, nominated for a Latin Grammy and led by cousins Luisito and Roberto Quintero, released an album in which they pay tribute to the work of La Dimensión Latina, the orchestra that represented a before and after in the history of this musical genre in Venezuela.

The band wanted to go back to the 60s to remember that particular style with which La Dimensión Latina championed Venezuelan salsa: “Many of the world’s salsa players and Venezuelans identify with this rhythm. We, the Quintero, have always been loyal fans of these great teachers. With this album we wish to pay tribute to those who today are a world icon of salsa ”, they said through their networks. “Ya tú lo verás”, promotional single from the album composed by Oscar D’León, was arranged by the legendary trombonist and director of La Dimensión Latina, César Monges, better known as “Albóndiga”.

The album is the second released by Quintero’s Salsa Project, following their debut project, Nuestro Hogar, which was nominated for the 2019 Latin Grammy for Best Salsa Album. In that same ceremony, Luisito Quintero, one of the great Venezuelan percussionists who make a professional life in the United States, received the gramophone as a member of the Spanish Harlem Orchestra, which was recognized for his Anniversary album as Best Latin Tropical Album. Quintero is also a member of the group of the great pianist Chick Corea. Do not miss it!

The invitation to tune in to the new Fm / Internet radio station on Live365.com continues: Salsagallery. Good music, interviews with the artists and much more.

At the Spanish Harlem Salsa Gallery Museum we are happy to say that we are gradually returning to our activities and we will be opening the gallery sporadically. We do not stop, we continue to work for our music and we will always keep you informed through our social networks. We hope to have more news shortly and that we can return to normal soon.