Search Results for: Mambo

Palladium in the New Millenium engalana el “Lehman Center for the Performing Arts”

On March 5, 2022, the heirs to the mambo will reunite once again, this time the concert entitled Palladium in the New Millennium will grace the Lehman Center for the Performing Arts in the heart of New York’s Bronx.

This concert coincides with the coming of age celebration of the establishment of The Big Three Palladium Orchestra. The initial idea of bringing together the three great Palladium orchestras in this innovative concept came to Mario Grillo, better known in the music world as Machito, Jr. approximately twenty-one years ago.

His counterpart, Tito Rodriguez, Jr. told me about it and, thanks to his complicity, I had a pleasant conversation during which Machito, Jr. shared with me a myriad of details. Having previously collected and shared the conversations I had with Tito, Jr. and later with Machito, Jr. I must now share the point of view of the youngest of the three mambo heirs -Tito Puente, Jr.- about this trilogy, among other things. During the beginnings of this historic reunion, Tito Puente, Jr. was barely 30 years old.

As with me, the two oldest members of the trilogy have been very supportive of Tito Puente, Jr. During an exclusive interview granted for this special assignment, Tito Puente, Jr. expressed his deep appreciation for having been so lovingly guided by Tito Rodriguez, Jr. and Machito, Jr. to the recording of what has become the legacy of the Palladium big three: The Big Three Palladium Orchestra live at the Blue Note (2004).

On March 5, 2022, the heirs to the mambo will reunite once again, this time the concert entitled Palladium in the New Millennium will grace the Lehman Center for the Performing Arts in the heart of New York's Bronx. — Palladium in the New Millenium engalana el “Lehman Center for the Performing Arts” en pleno corazón del Bronx de New York

The youngest of the three heirs of the mambo is doubly celebrating, as he has just released his sixth production, entitled The King and I. It contains nine tracks, as you can hear on the album. It contains nine tracks, as detailed below: Picadillo, featuring Humberto Ramírez on trumpet; Salsa na ma, featuring José Alberto “El Canario” on vocals; Pa los rumberos, with a masterful performance by Domingo Quiñones; Oye como va, with a performance by “Mulato Rumbero”, Michael Stuart; Para la niña y pa la señora, with none other than Miguel Angel Barcasnegras, better known as “Meñique” (EPD) on vocals; Hong Kong mambo, instrumental theme that highlights the Puente dynasty, with Ronnie Puente on xylophone; El bribón del aguacero, with Yolanda Duke on vocals; 20 años and El Rey del Timbal. Let’s be clear that this album is not the big band arrangement to which the eternal King of the Timbal has accustomed us. It is, however, the best tribute that the youngest of the three heirs of the Palladium pays to his father, keeping the legacy alive and kicking.

As you can see, each of the “Palladium’s Big Three” inherited a timbalero son. Coincidentally, Machito, Jr., Tito Rodríguez, Jr. and Tito Puente, Jr. grew up surrounded by music. Their family environments, respectively, supported them. Indeed, today, all three are musicians. These three bandleaders have made it their mission to keep the Palladium legacy alive and well. Although the mambo heirs have transcended the label of being the sons of the mambo owners, they do not forget that the Patriarchs are still a topic of conversation in musical circles around the world.

As the past is the past and the future is uncertain, here we are already waiting in despair. For this new reunion, first-class musicians have been secured, backing up the three heirs of the mambo. The musical constellation that will be part of this historic night is formed by: Carmen Laboy on baritone saxophone and musical direction, Jorge Castro on tenor saxophone, Mark Friedman and Al Acosta on alto saxophones; Larry Moses, Seneca Black, Mike Mossman, and John Carlson on trumpets; Gilberto Colón, Jr. on piano, Jerry Madera on bass, John “Dandy” Rodríguez on bongo and Eddie Montalvo on tumbadoras. On the vocal front, Sammy Gonzalez, Jr. leads with Luisito Rosario and Jeremy Montalvo on backing vocals.

I for one continue to live in salsa, which to put it in more earthly terms is, simply put: magic, fantasy, and illusion.

Article of Interest: Sigo entre amigos de Luis “Perico” Ortiz

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

To speak of Leonardo Ortiz Chacón is to speak of a musical institution of Mexico

Performer of the tres, composer, arranger, music and radio producer, director and founder of Combo Ninguno since 1983.

He studied at the Faculty of Music of the UV, in JAZZUV, in Musinetwork in Boston MA and with teachers Luis Martinez, Carlos Tercero and Edgar Dorantes, he is a teacher of Musical Education in the Ministry of Education of Veracruz and since January 2019 participates in the direction of the Papakilistli Orchestra of the same Secretariat.

He has collaborated in television as musical director of the program “Cómo suena la clave” in TV Más. He is currently producer and host of the program “Cadencia Caribe”.

Since 1983 in Xalapa, the members of Combo perform dance music from the Antilles, integrating a repertoire with their own creations and original arrangements to themes of other authors in different musical genres such as son, guaracha, mambo, merengue, danzón, bolero, etc, achieving in their thematic diversity, a unique sound full of references to their native state of Veracruz.

He has taught workshops of appreciation and execution of Caribbean music and has participated as a lecturer and speaker on this subject in countless events, have been presented in Spain, Cuba, United States and Canada.

Accessing different forums from the small and improvised street space to large venues with capacity for tens of thousands of spectators such as the Azteca stadium or the Salsa Fest in Boca del Rio.

He has performed at prestigious cultural festivals such as the Cervantino, the Quimera, the Afro-Caribbean of Veracruz, the Vancouver Folk Festival and the International of Houston, at Fairs such as the San Marcos and the Expo Sevilla, Carnivals such as the one of Veracruz, Havana and the Mardi Gras in New Orleans and Galveston Texas.

Maestro Leo, how can you define yourself in the music scene?

Leonardo Ortiz Chacón is to speak of a musical institution in Mexico. — Leonardo Ortiz Chacón Tres player, composer, arranger, music and radio producer

I see myself as someone captivated by this music since I heard it for the first time, thanks to it I have been able to enjoy unforgettable moments and for many years I have not had a day in my life without doing something related to music. Be it as a performer, manager, broadcaster, props man, audio manager, producer, etc.

I understand that you have had many presentations abroad?

For me there have been many and I would like to have more. I think I have been fortunate to take advantage of the opportunities that have presented themselves with Combo Ninguno. I must say that personally I would never have been able to be in the places where music has taken me.

As part of your presentations you toured the U.S. How pleasant was the experience?

At one time we participated in a project to promote tourism in the State of Veracruz and we continually visited the State of Texas and then extended to Louisiana and Colorado, thanks to this an American promoter invited us to tour from coast to coast presenting a show of music and dance that began in New Hampshire and continued in New York, Pennsylvania, Illinois and other states to conclude in California after performing in New Mexico and Arizona. The program of the presentations was with original repertoire and Mexican authors.

What did it mean to you to perform for the first time in such a musical country where many great exponents of the island of Cuba came from?tional in 1989 at the Na Theater of Cuba

For me this was one of the memorable moments that I thank to music, the fact of participating with Combo Ninguno in a Gala dedicated to Mexico, in such an important place in Cuba, the country where this music was born.

I tell you that my emotion was so great that at the beginning of our performance, I could not complete the first verse of the song with which we opened, it was El jarocho by Lino Carrillo, I had to sing: Jarocho yo soy señores and I only said Jarocho, the rest was a sort of incomprehensible sounds that I could emit with a lump in my throat.

Have you had an endless number of participations in Cultural Festivals, which is the one that leaves a mark on you in your own country?

I can’t say one in particular, I remember presentations at anti-nuclear rallies where there were children, young people, adults and elderly people that were not festivals strictly speaking, a Cervantino festival where in the middle of a downpour people danced in the Alhóndiga de Granaditas under an impressive downpour, the Festival de la Nueva Canción Mexicana where we performed for the first time in 1983. And I could go on mentioning many more.

How did the Como Suena La Clave Festival come about?

This festival arises with the intention of being a showcase where to make visible and position the Mexican orchestras with original proposal. Trying to promote, preserve and spread salsa music made in Mexico.

At first the orchestras were invited to play original arrangements of songs by other composers, then they were asked to play music by national composers and nowadays they are asked to play original music complemented of course with songs by national composers.

You don’t stop, you continue harvesting and now the project Coloquio Musical Afroantillano is born, why make this new proposal?

I think that in Mexico little is reflected and little is written about this genre. It seems that when we take the music out of the dance floor, we lose the rhythm and also the step.

For some time now, most of the debates on this subject have taken place backstage and in the places where musicians and some dancers gather to refresh themselves after the events. Recently, social networks have continued with this exercise, I must point out that for decades the main topic to be discussed has been: Does salsa exist or not? Should it be called salsa or son? And I believe that among other issues, we have left aside fundamental matters such as the creative part, the economic aspect and the diffusion.

Based on this consideration and thanks to the support of Rafael Figueroa, the Festival Como suena la clave, the Centro de Estudios de la Cultura y la Comunicación of the Universidad Veracruzana and the Red de estudios de la Música Afroantillana en México convened the Colloquium La música afroantillana en México: confluencias y divergencias where the participants in a framework of cordiality and respect have made valuable contributions that will be included in a report that will be released as a digital multimedia document for free distribution.

Do you think that the music called salsa is evolving worldwide?

I don’t have the slightest doubt about it, just as I don’t hesitate to mention that due to diffusion factors we only know a small part of the new salsa music that is being made in many places and that perhaps most of the music that is more accessible to us on digital platforms is not the best.

Have you experienced the best times in music today, and what do you think is missing?

Among other things, today and always it will be necessary to contribute new music that increases the cultural heritage of this genre. We need to talk about our present without forgetting the past, about our environment and our daily life in a globalized world. We need to speak our own language and disseminate these productions in the best possible way, trying to overcome the reluctance of many towards what is new and what does not come from the places where this music has traditionally been produced.

Already with seventeen record productions, now that you have worked on them, which is the production that has marked the history of Combo Ninguno? What has been the one that has left the greatest mark on you?

Undoubtedly the most significant record production is the first one, in it, as in each of the subsequent ones, our desires and also our possibilities and limitations are recorded musically. The most present record you have now is the one you are making or that you intend to make. Each record becomes a part of your musical history and your own life.

Have I heard salsa with the jalapeño touch mentioned because of that phrase?

In our case it is an advertising phrase that alludes to the hot sauce. Salsa with jalapeño flavor. Initially it was used for our presentations in the United States where the chili peppers are called jalapeños. Today we use it by writing jalapeños with an x.

Combo None other cultural heritage that we have while we are still alive that you feel after 39 years in the music industry?

I’m looking forward to at least as many more. Looking back I realize that Combo Ninguno became a life project that has filled my days with music, so there will always be little I can do for music.

What do you expect from Leonardo Ortiz Combo Ninguno?

I have two record productions pending with Combo Ninguno, one of them is already quite advanced and I hope to finish both this year. I hope to give continuity to the Festival Como suena la clave and continue participating and enjoying everything that has to do with salsa made in Mexico.

Maestro, what would you like to say goodbye with and what message would you like to leave to the new generations?

I would invite them, besides the musical study, to try to make their contribution and leave their name in the salsa made in Mexico, to document their creativity in our reality and then communicate it in their creations, I would also ask them to debate and collaborate with their colleagues.

DISCOGRAPHY

In their discographic work we can see a style that can be projected without problems towards the universal, but that does not cease to feed on their own Veracruz identity by offering us a combination of traditional and original pieces that exude Veracruz and Afro-Hispanic Caribbean flavor.

To date they have made seventeen recordings, seven exclusively of combo none:

– Tumba Verde (1987)

– Traigo este son (1990)

– Son de amor (1994)

– Carnaval Veracruzano (2001)

– Con Sabor a Veracruz (2005)

– La Bruja recorded at the 17th Afro-Caribbean Festival Veracruz 2011 (2012)

– Inventario- Combo Ninguno, of which the singles Descarga de las flores, Calaveritas de Azúcar and Alambre, cuero y madera have been presented.

And ten productions in which they intervene with other groups:

– Son 13 rolas antinucleares (1989).

– Somos indios (1995)

– Homenaje a Luis Martínez, recorded live at Barlovento de Xalapa in the 1st.

Festival Como Suena la Clave 1997 (1998)

– Tribute to Carlos Pitalúa, recorded live at Barlovento de Xalapa in the 2nd Festival Como Suena la Clave 1998 (1998).

Festival Como Suena la Clave 1998 (1999)

– From Son to Danzón (2000)

– Tribute to Emilio Domínguez, recorded live at Barlovento de Xalapa in the 3rd Festival Como Suena la Clave 1998 (2000)

3rd Festival Como Suena la Clave 2004 (2010)

– Con sabor a Veracruz-RTV music (2012)

– Tribute to Toña la Negra, a recording that records the V Festival Como Suena la Clave

Clave Festival held in Veracruz, Veracruz, Ver (2013)

– Salsa a la veracruzana, recording of the VI Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz, Veracruz (2015).

Veracruz, Ver (2015)

– Al Son del Covid, record of the VII Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz (2015).

virtual way in December 2020.

Erika Muñoz (La Mulata Rumbera)

Article of Interest: Maestro Jorge Anselmo Barrientos Silva, conductor, arranger and composer

Get Through March With Latin Atmosphere And Sound

France is ready to enjoy Latin events during the third month of the year

Covid-19 and its multiple variants have already ceased in France and that is why this European country is ready to start enjoying Latin events during this third month of the year. So don’t miss the details of each of the Latin parties that we bring this month dedicated especially to you.

Mulatason & Alfredo Buendía Y Los Picaflores

(Salsa / Mambo)

The 5 Mulatason singers dressed in white — This event will comply with current health measures.

Join and enjoy the end of this winter in the country with the Latin concert of the female group Mulatason and the band with the singular joy of Mambo Alfredo Buendía y Los Picaflores, this Saturday, March 5^th at 9 PM at 3 Rue Ferdinand Buisson, 82000 Montauban, France Association Le Rio. Try to pre-sale tickets for € 20 because the price at the door will be € 24 per person.

And for those who still don’t know Mulatason, here I make a summary of their history. This orchestra formed in September 2013 by its director Yarelis Martínez Chávez is made up of five women with harmonious voices, and their music is a mixture of dance rhythms that range from Salsa through Timba and ending with the traditional melodies of the island of Cuba. Their popular and peculiar choreography called “Rikiti” has been their hallmark that they have managed to spread across large national and international stages.

The orchestra is made up of nine talented artists residing in Havana (Cuba) who graduated from higher art schools. Each member of the band is no older than 25 years old and they have a repertoire of original compositions.

Mulatason “Las Princesas de la Salsa” returns to Europe to present their new album No Vale Rendirse celebrating almost nine years in the art scene.

The 7 members of Alfredo Buendía and the Picaflores dressed in blue and black card — Seven musicians with a good dose of humor and passion for Afro-Latin music and Jazz make up the Mambo band, Alfredo Buendía y Los Picaflores

On the other hand, and for those who have not heard before about Alfredo Buendía y Los Picaflores, below I will tell you a little about them. This project of seven musicians was born on an afternoon in December 2016 in order to have fun on stage, make a type of music that injects energy into the audience, and transports joy and light madness to the spirit.

Alfredo Buendía (Lead Vocals – Trumpet 2) was returning from three years as a Jazz crooner in Rio de Janeiro (Brazil), he wanted to bring something new, interesting, and different to the artistic scene in France since he had become accustomed to the type of show that it’s made in America. Also, he wanted to play rhythmic and deliberately festive music like the one he had been listening to for a long time-El Mambo by Pérez Prado-with its history from Cuba in the 1950s to Mexico.

This bewitching goal materialized with Pierre Levy (Tenor Saxophone), Jonas Chirouze (Drums), Clément Lefèvre (Trumpet), Hugo Lebeau (Congas), Guillaume Pique (Trombone), Youssef Ghazzal (Double Bass), and Alfredo Buendía managing to create El Mambo a novel concept between Afro-Latin music and jazz little explored on the French scene.

Le Balajo

(Salsa / Bachata)

Le Balajo nightclub open since 1936 brings Salsa and Bachata classes every Tuesday from 7:30 PM to 2 AM for beginners and intermediate level dancers. Salsa lessons for amateurs start at 7:30 PM while intermediate level classes begin at 8:30 PM followed by a Latin party hosted by DJ Karim until 2 AM.

Remember that to access the club you must present a Vaccination Certificate (Required) and an identity document.

The fees to attend this weekly event of joy and good humor are €8 and include non-alcoholic drinks and €12 if the drink is alcoholic, but if you just want to enjoy the bar and its atmosphere, the admission is €5.

La Pachanga

(Salsa)

The Bar/Restaurant/Club La Pachanga is a place of reference for Salsa lovers, it is located in Paris at 8, rue Vandamme 75014. This club is designed with a cozy and Caribbean style. At the bar, you can enjoy different types of cocktails, Mojitos, Caipirinha, or Cuba Libre, just as they offer only Latin American dishes at the restaurant.

At Pachanga, you can attend classes for beginner and intermediate levels from Tuesday to Saturday from 7:30 PM to 8:30 PM with different instructors who will make you live an hour of Salsa Cubana and Salsa Puertorriqueña dance.

Latin Music Bonus In France

Dancing couple dressed in black — The Latin Party at Bar Le 3 is back

On Friday, March 18^th, you can enjoy the Soireé Mix Latino “La Calle” event from 4 PM to 9 PM at Bar Le 3 located at the French city and commune Valence at 4 rue André Lacroix. This bar has a tropical atmosphere with living rooms with sofas and armchairs as well as a cozy and warm decoration. It also has a selection of 30 cocktails and a permanent musical atmosphere with a selected playlist of Jazz and other genres.

And the last Latin Music Bonus in France that I bring you for this edition is the Fiesta Latina Metz to be held on Friday, March 26^th. This festival will offer you two workshops (Salsa and Bachata), in addition to having fun with the rhythm of Cuban Salsa, Dominican Bachata, Sensual Bachata, Kizomba, and other Caribbean melodies. There will be big parties with DJ Will, DJ Papy Culio, and DJ Kylian starting at 9 PM and ending with seven shows from 11 PM to 3 AM. Fiesta Latina Metz will have three rooms (Salsa/ Bachata/ Kizomba) and the prices to attend vary by combo: one workshop + evening: €12, while two workshops + evening: €20, and if you just want to attend to enjoy the shows the ticket has a value of €7. Fiesta Latina Metz will take place at the Quai Sablon Social and Cultural Center at 1 bis rue Castelnau 57000 Metz.

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Pedro González

Musician, Instructor, And Pioneer Of Salsa Casino In Venezuela

“If people dedicate themselves to this, it is because we are doing it well.” This nice phrase arose from the pleasant and attractive telephone conversation about the history of the pioneer of Salsa Casino in Venezuela, the charismatic Cuban-Venezuelan musician and instructor Pedro González.

This affable musician and Salsa Casino instructor told us that he carved out his career from a very young age. He was born in Havana (Cuba) in 1966 and began his musical studies at the National School of Arts in the Havana capital at the age of ten, graduating in the specialty of Guitar (Short Course of 8 years) in 1984.

He comes from a musical family, his grandmother was the soprano Rosa “La China” and his mother (teacher and school principal) Zoe Portuondo Suarez, a distant relative of the singer Omara Portuondo.

“…Since I was little I liked to dance, I would dance everywhere. I learned with my cousin… I went to places like Playa… Besides, my mother danced a lot and my grandmother was a singer and she was also linked to the world of art…” Pedro commented.

His first job was as a music teacher in the Pinar del Río city, three hours from Havana. A short time later, he joins the Caranday group, and they play Son Cubano every night at the luxurious Hotel Nacional De Cuba.

After 45 days from his first presentation with the group, they meet the Venezuelan businessman Martín Gutiérrez, who takes them to Venezuela in 1993 to perform at private parties in the Falcón state.

Due to the few opportunities he had in Cuba, he decided to stay in Venezuela and formed the Latino Son band, made up of four Cuban musicians, and in turn began to be members of the Tropicana-style Cuban Fiesta Magazine (Show with a range of musical genres, interaction with guest singers, and dancers) in nightclubs of the Capital.

In Moments of pause with the musical magazine (1997), he undertook a tour with the Latino Son group with whom he traveled for almost all of Venezuela and toured the main stages of large national festivals such as La Feria del Sol (Mérida), Feria de San Sebastián (San Cristóbal), and La Feria de la Chinita (Zulia) among many others.

“We played permanently at La Giralda… At La Giralda we organized a party playing the Cuban Timba, then, there they called us “The Cuban Orchestra” in 1996, 1997, and 1998…”

During the ’90s and already residing in Venezuela, Pedro became the first Salsa Casino instructor in Venezuela without planning it as a life plan, and in 2000 he founded his homonymous academy that has graduated thousands of fans of this style of salsa dance.

Dancing is one thing that keeps you active. That is good for the body. If you have a problem in two hours or an hour and a half dancing you forget it. For my part, I like to teach… And, I like people to have fun.” Pedro González

History And Evolution Of The Academy Dance

Pedro González with burgundy flannel and four women on the sides — Pedro González is the President of the Salsa Casino Organization in Venezuela

One night at the end of the 90s, Pedro along with his friend Milan (Medical and Countryman) began to remember the Dance of the Casino in La Giralda (old venue to listen to live music and enjoy various drinks on the Boulevard de Sábana Grande – Caracas) after his customary presentation with the Latino Son group.

Both began to stand out on the dance floor with the genre of La Timba and for a way of dancing Salsa different from the one practiced in Venezuela. “We began to dance with two Venezuelan girls in the Rueda style (which was not a Rueda because there must be 3 couples)… I began to say Milan “Give me one”, “Plugin”, “The Hat”, and we began to dance the Casino Style”. Pedro “El Cubano” told us between laughs during the interview.

The two ladies were so impressed by that way of dancing that they did not hesitate for a moment to ask Pedro for dance lessons. After so much insistence, “El Cubano” agreed for the first time to give Salsa Casino classes in the capital of Venezuela in an improvised and reduced space with his first five couples. “I am from the Cerro municipality, which is the closest to Old Havana. I used to go to Playa (Municipality of Havana) a lot to dance and I learned many dances and turns…”

And so Salsa Casino began spontaneously in 1999. By the following year (2000), Pedro had 20 couples and a larger room to teach.

The evolution of him in his rise during this year was impressive. Due to the influx of students, he began to teach in the blue auditorium of the Faculty of Economic and Social Sciences (Faces) of the most prestigious University in the country, the Central University of Venezuela (UCV) through Reinaldo Mijares, Director, and choreographer of the contemporary dance “Mudanza” attached to this institution and where González assures that this movement grows.

From there, he gave way to the Casa Monagas club, a place located in the Las Acacias sector (west of Caracas) behind the UCV with the capacity to hold up to 1,000 people. Here, Pedro’s students had more space to rehearse, and Salsa Casino Parties began to be organized monthly.

Pedro González with a blue shirt dancing with two women — Dance academies in Venezuela were teaching Puerto Rican Salsa Style in the year 2000

With this overwhelming success, the creation of the Academia Salsa Casino in Caracas was imminent. It had massive attendance, national impact with graduate students, and attendance at national and international festivals such as Curacao Salsa Tour, Festivals in Cuba, and an amazing show at the Amador Bendayán Theater.

With more than 20 years of teaching Salsa lessons, Pedro has graduated more than 2000 students and changed its name to Academia Pedro González. It currently has five locations: Sábana Grande (main location), Chacaíto, San Antonio de los Altos (Los Teques), Capitolio, and El Cafetal.

The classes are aimed at children and adults. The call is open, so you can sign up without a partner and don’t worry because the essence of the Rueda remains. The estimated graduation time is three years with four basic levels, four intermediate levels, six advanced levels, you will also receive a triple casino level, two dance technique levels, and to complete the process a final choreographic exam is done.

Every dance lesson is fun because of Pedro’s ability to teach. The names of each step such as “Pégale un Cacho” are adapted to the colloquial vocabulary of the Venezuelan so that it is easy and fast to learn.

Due to Covid-19, the Pedro González Academy makes the use of the mask and antibacterial gel an essential requirement for permanence within the institution, as well as reducing the maximum number of couples per level to only ten.

Vanessa Lovera y sus amigas vestidas de negro — Vanessa Lovera (Left) accompanied by two Salsa Casino dancers at the Caracas Carnival party

At the main headquarters, there are four instructors. One of them is Vanessa Lovera, a graduate instructor from the academy. For Pedro, she has been unconditional support in difficult moments of the institution. Vanessa teaches Salsa Casino and Ballroom Dance. You can also find her at the El Cafetal headquarters, but if you prefer the main headquarters, the address is as follows: Sábana Grande Boulevard, Fénix building, 5th floor, next to the Gran Café.

For this 2022 and if there is a return to normality, the Cuban instructor and musician residing in Venezuela hopes to resume the lost spaces in Caracas such as discos, nightclubs, presentations in theaters, once again hold large Salsa Casino parties in large rooms, the return of national competitions, and the continuation of the training of instructors in person (it is only online currently).

Casino Dance Or Salsa Casino?

Club Casino Deportivo in Havana, Cuba — Club Casino Deportivo no longer exists. Nowadays only the sports fields were preserved of this infrastructure.

According to the friendly instructor Pedro González, the origin of Salsa Casino on the island of Cuba has a unique story that begins like this…

Since 1956 numerous Cuban orchestras have been registered that played very popular and contagious musical genres such as Cha Cha Cha, Guaracha, Mambo, and Son. Rhythms that invited the young inhabitants of Cuba of this time to just want to dance and have fun all night with these melodies, but they not only wanted to do it with their partners but also with those of their friends, acquaintances, and strangers. However, for this decade that was not allowed because the rules of the strict and conservative society dictated it.

In this way and with the pursuit of that goal, the gentlemen created this style of dance. A style that did not require constant practice and where partners could be exchanged using keywords such as “Plugin” to perform the movement and for the theory to be carried out perfectly without altering society. The place where this event was recorded was Casino Deportivo, a private summer vacation club located in the Miramar residential area in Havana.

“We (in Venezuela) call it Salsa Casino because it is the commercial name already used in the United States. In Europe they call it Salsa Cubana, but the original name is Baile Del Casino”. Pedro Gonzalez

That is why at the end of 1950 this style of dance began to be generated that people internationally associate with the style of gambling performed in a Casino because it is a dance in Rueda.

The popular expression of most people in Cuba every time they saw this peculiar way of dancing was to say “Ah! But you are dancing like the people of the Casino (Casino Deportivo Club)” that each day was shortening the expression until reaching the Baile Del Casino.

The peculiarity of this dance style is that it does not have a musical genre, that is, no melody that identifies it. For example, a Danzón is danced with the music of the Danzón, the same happens with the Cha Cha Cha, Mambo, Son, and Bolero. There is no rhythm called Casino, therefore this style acclaimed in the world and preferred by Cubans began with the music that existed in this glorious decade of the ’50s.

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Johnny Andreu “Almendra”. Bandleader, percussionist and founder of Los Jóvenes del Barrio

Growing up and listening to music, he played with various objects around the house. Taking things seriously at the age of 16, he started with bongos, then congas and then timbales, which is the instrument he is best known for.

Andreu y Los Jovenes Del Barrio, the band was led by his ex-wife, the American born singer JILLIAN (1962-2009) able to charm you in two languages, a great loss at a young age, another victim of the scourge of our time, cancer. Blending elements of Charanga, Jazz, Typical Latin, the group dominated radio stations for a decade.

Brooklyn-born composer Johnny Andreu, who from an early age was introduced to and kept in touch with Latin rhythm through family influences, received his musical training at U.C.L.A., the “University on the Corner of Lexington Avenue. When he was 18, Mario Lebran, a musician with Ricardo Ray and author of ‘Mambo Jazz’, helped him get into the music business. He has learned a lot by listening to his records and playing his instruments.

Lebran Andreu also encouraged him to audition for his first job as a percussionist working for “Mike y Su Rítmico”. From there he moved on to the Bobby Matos orchestra whose pianist Paquito Pastor said one day he named him Andrews after Andreu. You are Latin, you are an ‘Almendra'”. That’s how Johnny Andreu became Johnny Almendra.

In the late 1960s he teamed up with Johnny Colon, they performed at the Corso and the legendary Cheetah, and after a year, Almendra and Louie Bauzo left to form their own band, Tambo.

This group lasted about four years and later worked with Almendra Charanga ’76, Orquesta Broadway, and the Típica Novel. Playing with Típica Ideal, he met Milton Cardona, who became a lifelong friend.

Band director, percussionist and founder of Los Jóvenes del Barrio. — Johnny Andreu “Almendra”

One day Cardona invited Almendra to see Willie Colón at Casa Borinquén, and as it turned out, they were in need of a timbalero. They invited Almendra who stayed for eight years.

During 1977 and 1978, Willie Colón Rubén Blades recorded history-making albums. A large number of the best musicians of the time were brought together, including Héctor Lavoe, percussionist José Cándido Rodríguez, bassist Víctor Venegas and many others. This material was released in 1998 for the RMM label.

For International Salsa Magazine through www.SalsaGoogle.com it is a great pleasure to review an artist of the stature of Jhonny Almendra, catalogued as one of the greatest percussionists in the city of New York for his ability and skill still in the forefront of Latin Music.

Johnny Almendra, Los Jóvenes Del Barrio Reconfirmando “1997”

Tracks

Todo el Mundo Necesita

Pasión Sin Freno

Hechicera

Everybody Plays the Fool

Borincuba

Zapato Apartao

Cumbiaranga

Compassion

Rent

Cold and Darkness, The

Hechicera Reprise/A-Files

Musicians

Regina Carter – trombone

Ozzie Meléndez – trombone

Ronnie Bar – backing vocals

David O’Quendo – flute

Karen Joseph – flute

Kimson Plaut – accordion, piano, synthesizer

Oriente Lopez – flute, synthesizer, backing vocals

Ray Sepulveda – vocals

Tito Nieves – vocal

Robert Thomas – violin

Sam Bardfeld – violin

Al Bello – percussion

Andreu Johnny Almendra – percussion

Frank Seguinot – vocal

Miles Peña – vocal

Sources:

https://lasalsaesmivida.com/johnny-almendra-y-los-jovenes-del-barrio-reconfirmando/https://www.pinterest.com/bobbymartell/johnny-almendra/

Article of Interest: What Ángel Meléndez has to say about his brilliant musical career