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Goodbye to José Antonio Abreu, the most beloved Master – Part 1

Latin America / Venezuela / Caracas

José Antonio Abreu

This extraordinary human being died on Saturday March 24 at the age of 78. Given the shock and infinite sadness of musicians, family, friends, music teachers, his thousands of disciples and all his followers, his wake took place on Sunday, March 25, in the Simón Bolívar Hall of the National Center for Social Action for Music, and was buried in the Cementerio del Este, in Caracas, Venezuela.

The manifestations of pain, and at the same time of gratitude, that the death of the Master has produced have sounded in all corners of the world, where his person and his work have been both a source of inspiration and an object of admiration and recognition.

The teaching of ART AND MUSIC in the whole world changed radically after the creation of EL SISTEMA. We invite everyone to read here the complete report on its activity published in our magazine, in June 2015, on the occasion of its 40th Anniversary.

The Venezuelan Musical Miracle

José Antonio Abreu economist, manager, entrepreneur, visionary, composer, conductor, distinguished teacher and tutor of several generations of Venezuelans is the founder of what is recognized as the Venezuelan musical miracle: The National System of Youth and Children’s Orchestras and Choirs from Venezuela. “This Venezuelan musician, sower of illusions and builder of dreams, has carried out a task that goes beyond the musical and cultural horizon, and is inserted in the rescue and formation of Venezuelan and Latin American youth.”

http://fundamusical.org.ve/category/el-sistema/jose-antonio-abreu/

“The life of José Antonio Abreu is the stellar journey to the land of a privileged human being, with a perfectly planned itinerary, always fulfilled and ascending. Thanks to its visionary mission, Venezuela has managed to crystallize one of the cultural, artistic and social programs of greater importance for America, the Caribbean and the world”.

Venezuela Seeded with Chefi Borzacchini Orchestras.

Caribbean Bank. Caracas, 2004.

“THERE ARE BEINGS THAT SEEM MARKED by God’s chalk. They are beings destined to leave a mark of their passage on earth. There are artists who make works of art with the purpose of conquering beauty, achieving fame or defeating death. There are others, however, rarer and more special, who prefer to dedicate themselves to making the other human being a work of art. That is the case of José Antonio Abreu: without a doubt, one of the most definitive and transcendent Venezuelans of contemporary Venezuela”.

The Impossible 3. Conversations on the edge of a microphone. Leonardo Padron.

Aguilar, Editorial Santillana. Caracas, 2008.

José Antonio Abreu was born in Valera, Trujillo state, Venezuela, on May 7, 1939, and from an early age he demonstrated his musical and artistic sensitivity. He began his music studies at the age of nine with the pianist and beloved teacher Doralisa de Medina, in the city of Barquisimeto, Lara state, once considered the musical capital of Venezuela, and then moved to Caracas in 1957.

He entered the José Ángel Lamas Superior School of Music, where he became a disciple of important Venezuelan masters such as Vicente Emilio Sojo, with whom he studied composition; Moisés Moleiro, his piano teacher, and Evencio Castellanos, who gives him organ and harpsichord classes.

In 1964 he obtained the titles of Performing Professor and Master Composer. Later he studied Orchestral Conducting with maestro Gonzalo Castellanos Yumar and became a guest conductor of the main Venezuelan orchestras.

In order to materialize his life project, the founding of El Sistema, Abreu first forged an important career as a planner and economist. I have obtained a degree in Economist from the Universidad Católica Andrés Bello, in Caracas, and a Ph.D in Petroleum Economics, from the University of Pennsylvania, USA.

His academic achievements allowed him to distinguish himself as a university professor, planner and economic advisor, serving as Director of Planning for Cordiplán, Advisor to the National Economy Council, President of the National Council of Culture, Minister of State for Culture and Deputy to the National Congress of the Republic.

In 1975 he founded the Juan José Landaeta National Youth Orchestra of Venezuela, which would later be called the Simón Bolívar Youth Symphony Orchestra of Venezuela, now the Simón Bolívar Symphony Orchestra of Venezuela, the “top” orchestra of the National System of Orchestras and Choirs . Juveniles e Infantiles de Venezuela, an enormous network planted throughout the Venezuelan territory, within which several generations of Venezuelan musicians have been formed.

Between 1960 and 1980, Abreu managed time between management, teaching and organization of the nascent cultural company that is El Sistema de Orquestas y Coros, for musical creation and a large artistic agenda that allowed him to raise his baton in front of the Orchestra Venezuela Symphony as guest conductor and, later, in front of the Youth Symphony of Venezuela and the Simón Bolívar Youth Symphony of Venezuela.

Abreu wrote some musical works, including La symphonic cantata Veni Mulier de Samaria (National Composition Prize, 1966); Oratorio on texts of the Apocalypse, Triptych for eleven instruments and Wind Quintet. He took on the challenge of conducting with his rigorous, demanding style and, above all, always searching for the depths, subtleties and meaning of the works he conducted. In this facet he has also been a teacher and has left his mark on the musical stamp and the unique sound that the Simón Bolívar Symphony of Venezuela possesses, as well as on other orchestras of the System that have been directed by him, such as the Teresa Carreño Youth Symphony. or the Caracas Youth Symphony.

Abreu has been the tutor and the most influential teacher in the style and apprenticeship of Gustavo Dudamel, Diego Matheuz, Christian Vásquez, Dietrich Paredes, as well as other young conductors who are currently taking their first steps in conducting.

Awards and honours

“This beautiful distinction allows me to redouble my efforts to build an increasingly better world through the sowing of music in the souls of children and young people.” With these words, maestro José Antonio Abreu received on October 10, 2013, in the city of Tokyo, Japan, the Special Culture of Peace Prize awarded by the Goi Foundation for Peace, an institution that praised the creator of the National System of Orchestras and Youth and Children’s Choirs of Venezuela “for having dedicated his life to social work to promote the culture of peace through music.”

“With four decades of experience, Abreu’s work is the most important social responsibility program in Venezuela and is inspiring many nations around the world. For his invaluable musical contribution, and for having filled thousands of Venezuelan and Latin American children and young people with hope, nationalist consciousness and tools for work, this exemplary Venezuelan has received multiple national and international awards, granted by numerous governments, countries, foundations and non-governmental organizations”, among which the following stand out:

2014:

Notre Dame Public Service Award in Latin America. Indiana, United States.
Abu Dhabi Festival Award. Abu Dhabi Festival, United Arab Emirates.

2013:

Special Culture of Peace Award from the Goi Foundation for Peace, Tokyo, Japan.
Charles Ansbacher Music for All Award. Second edition. Organization “Free for All Concert Fund”.
Grand Cross of the Cruzeiro del Sur National Order. Brazil.
Trebbia European Award. Prague, Czech Republic.
Ibero-American Prize for Music Cortes de Cádiz. Municipal Foundation of Culture of the City Council of Cádiz, Spain.
Educator of the year. Musical America Worldwide, USA.

2012:

Hanz Lenz Medal of the Confederation of German Orchestra Federations.
City of Ravello Award. Italy.
City of Valencia Order in its first class The Mayor’s Office of Valencia, Carabobo state, Venezuela.

2011:

Special Echo Klassik Award from the German Academy of Phonography, the Cultural Institution of the German Music Industry Association.
Austrian Cross of Honor for Sciences and Arts from the government of Austria.

2010:

Erasmus Award 2010 from the Praemium Erasmianum Foundation

2009:

Chevalier de la Légion d’Honneur (Knight of the Legion of Honor). France.
Polar Music Prize.
Frederick Stock Award. Institute for Learning, Access and Training of the Chicago Symphony Orchestra.
Bridge Builders Award.
Frankfurt Music Prize.
TED Prize. Technology, Entertainment and Design (TED) Award.

2008:

Yehudi Menuhin Award for the Integration of Arts and Education. Albeniz Foundation. Spain.
Prince of Asturias Award for the Arts of the Prince of Asturias Foundation.
Grand Cordon of the Order of the Rising Sun. Japan.
Glenn Gould Award. Glenn Gould Foundation. Canada.
International Puccini Award. Pucciniano Festival Foundation.

Among other awards received by Maestro Abreu and El Sistema are:

– WQXR Gramophone Award. England, 2007; Don Juan de Borbón Award for Music, 2007; GlobArt Award, 2006; International Peace Prize for Arts and Culture, 2004; UNICEF Award. Italian Committee for UNICEF, 2006. Praemium Imperiale. Japan Arts Association, 2006. International Peace Prize for Art and Culture. World Culture Open, 2004; The Right Livelihood Award. Sweden, 2001, among others. As well as countless Honorary Doctorates from Venezuelan Universities and from around the world, Orders of Merit, Gold Medals.

Photo of José Antonio Abreu y Gustavo Dudamel

We invite you to review the complete list of awards received by Maestro Abreu and El Sistema on the FundaMusical website:

http://fundamusical.org.ve/category/el-sistema/recognitions/

THE SYSTEM —The National System of Youth and Children’s Orchestras and Choirs of Venezuela—

Youth and Children’s Orchestras of José Antonio Abreu

“The Orchestra System is the ideal dimension of Venezuela. From the beginning I saw in the orchestras the most beautiful expression of national unity. I saw a thriving Venezuela, full of wills and efforts to get what is wanted.”

“The irradiation of the Orchestras in the community, in each town, in each state, in the family, is undoubtedly transforming Venezuelan society. And the important thing about this is that if the other arts did the same, undoubtedly, art constitutes a fundamental, strategic, unique and revolutionary instrument for the transformation of the country”.

Jose Antonio Abreu Venezuela Seeded with Orchestras. Chef Borzacchini. Caribbean Bank, 2004.

“Thanks to El Sistema, young people from all over the world can benefit from the power of music to bring about a change in their lives. But At its deepest, El Sistema is a social program that It has saved lives and will continue to save many more.”

Sir Simon Rattle. Music Director of the Berlin Philharmonic

During the practices of the young members of the orchestra

“The fundamental mission of El Sistema is not only to help children, but often – and literally – to rescue them and, in the process, also to produce real and lasting changes in the lives of their families and communities.

“The orchestra and the choir are much more than spaces for artistic development,” says Abreu. They are examples and schools of social life. From the very minute a child is trained to play an instrument, that child stop being poor. Becomes an agent of progress who will become a citizen” »

Changing Lives: Gustavo Dudamel, The System and the transformative power of music.

Tricia Tunstall. Editorial Alfa, Caracas 2014.

The National System of Youth and Children’s Orchestras and Choirs of Venezuela, also known as El Sistema, was conceived and founded in 1975 by maestro José Antonio Abreu to systematize the instruction and collective and individual practice of music through symphony orchestras and choirs. , as instruments of social organization and humanistic development.

Youth and Children’s Orchestras practice

This pedagogical, artistic and social model, which has reached relevance throughout the world, constitutes the social responsibility program with the greatest impact in the history of Venezuela. Its governing body is the Simón Bolívar Musical Foundation, attached to the Ministry of People’s Power of the Office of the Presidency and Monitoring of Government Management of the Bolivarian Republic of Venezuela.

The System is based on the formation, at an early age, of integral individuals for society through the individual and collective practice of music. It incorporates boys, girls and young people from all social classes:

66% come from homes with limited economic resources, or who live in adverse conditions and in vulnerable areas; while the other 34% attended belong to urban areas with better access possibilities, thus achieving an example of inclusion of all sectors and strata of the Venezuelan population, without distinctions of any kind. In this way, the orchestras and choirs radiate their healing and uplifting effects on each student, their family and their community.

Orchestral and Choral Training Program

The focus of this artistic-social project stands out for the collective musical practice from an early age where the premise is to make quality music through orchestral, choral, chamber, folk, alternative and diverse genre groups that constitute and are part of a community and the Nuclei, educational, artistic and administrative backbone of El Sistema throughout the national territory.

In front of the lectern and under the leadership of the director, music becomes a powerful agent of positive change; Students learn to work as a team and to achieve goals by overcoming program levels, performing a sequential symphonic and choral repertoire, and performing on national and international stages.

Photo of the integrants Simón Bolívar Symphony Orchestra of Venezuela

The methodology also includes individual classes of symphonic instruments up to general rehearsals, with a sequential repertoire gradually structured for each level that includes works of all genres -national and universal-. In this way, the development of an artistic career is promoted individually and in groups, with the support of teachers prepared to facilitate meaningful learning.

The teaching-learning process is complemented through the daily and continuous practice of the members of El Sistema, combining their activities in the nuclei with frequent presentations to the public to make their work and achievements a constant and significant learning.

The nucleus

The functional, educational, artistic, and administrative structure that shapes El Sistema is at its core. All the orchestral and choral programs of the Simón Bolívar Musical Foundation are held there, which makes them teaching centers that, in many cases, function as centers for promoting the educational, artistic and cultural activities of the communities. The nuclei vary in size and complexity and are located in every state in the country.

The nuclei offer musical development programs for children between 2 and 6 years of age, ranging from musical stimulation and initiation to the formation of a group that includes content and musical activities appropriate to their ages. From the age of 6, students have the opportunity to develop in pre-infant, children’s and youth orchestras, the latter for young people between 12 and 18 years of age.

The module

It is a structure that joins this network to reach the most remote towns in the country, border areas, communities, urbanizations and schools, with the purpose that no Venezuelan girl, boy or young person is excluded from the experience and enjoyment that music provides.

The environment

In addition to developing in the musical field, the teaching-learning process facilitates the comprehensive development of the beneficiary from birth to adulthood, promoting responsibility, discipline, commitment, teamwork, respect, coexistence, collaboration and a sense of belonging, thus forming multiplier citizens of all these values in their family environments and communities.

Work with parents, representatives and communities

In the teaching-learning process of El Sistema, a constant link is maintained with the community and the family environment of children and young people, in order to provide a motivating environment for the beneficiaries that allows them to continue in their educational artistic process. Parents, representatives and community thus become indirect beneficiaries.

Currently, El Sistema has 423 nuclei and 1,340 modules serving 700,000 girls, boys, adolescents and young people. The academic staff is made up of 9,010 teachers, distributed in the 24 states of Venezuela, forming a complex and systematic national network of youth and children’s orchestras and choirs: 1,305 youth, children’s and pre-children’s orchestras; 1,121 children’s and youth choirs.

The National System of Choirs

It stimulates the training of children and young people in choral education, fostering the creation of networks that generate training systems for choral directors, lyrical singing students and vocal groups. Those who stand out at all levels of training make up the Youth Symphonic Choir, while the National Youth Symphony Choir of Venezuela is made up of regional teams.

Other programs:

Program for new members of “El Sistema”

It stimulates the growth of babies from the prenatal period up to 3 years of age.

The Paper Orchestra Program fosters unity between the family, the child and the teacher, designed so that the process of orchestral and choral initiation for students between the ages of 3 and 6 is pleasant and satisfying.

Alma Llanera Program, which trains children and young people through the collective practice of music with traditional Venezuelan instruments, in order to rescue and preserve popular Venezuelan folk music.

concert

New Orchestras and Musical Genres Program that offers academic training to musicians of the popular genre and promotes the emergence of groups of all styles. Venezuelan music in all its genres and aspects (popular, folk, llanera, Afro-Venezuelan, oriental, Zulian and Caribbean music); Urban music; Jazz; Latin and Caribbean music, including the salsa genre.

Two programs stand out for their capacity for integration and social reintegration: the Special Education Program; that integrates people with disabilities through music, and the Penitentiary Symphony Orchestra Program, which seeks to minimize the levels of violence within prisons and facilitate the process of social reintegration through learning, practicing and enjoying music. music.

Hospital Care Program that provides assistance to children and adolescents who suffer from illnesses and remain in health centers.

Luteria program that trains young people in the manufacture and repair of musical instruments.

Photo imón Bolívar Symphony Orchestra of Venezuela

More information at:

http://fundamusical.org.ve/category/el-sistema/que-es-el-sistema/

http://fundamusical.org.ve/category/el-sistema/impacto-social/

http://fundamusical.org.ve/category/educacion/metodologia/

http://fundamusical.org.ve/nucleos/

http://fundamusical.org.ve/educacion/

Progress in practice

Simultaneously with the pedagogical plan, which is applied throughout the national network of El Sistema, that is, in all the nuclei of the Venezuelan territory, a process of promotion is developed in practice: the student-performers enlist in the Pre-Children’s Orchestras , in the Children’s Orchestras, and, later, they moved on to the Youth Orchestras. Finally, the most talented performers, through rigorous audition processes, are selected to occupy a lectern in the Simón Bolívar Youth Symphony Orchestra of Venezuela, in its “A” or “B” section, where they achieve the greatest experience and the most high professional level.

In each of the orchestras, in their different categories, the personal and group effort of the students is promoted. For example, children and adolescents who work hard and progress have the opportunity to “win” prizes such as participating in advanced courses, workshops, seminars, rehearsals and concerts with national and international teachers.

http://www.musicabancaribe.com/Publicaciones/Libro_digital/VenezuelaEnElCielo/info/capitulo6/i/index.php#prev

Pedagogical structures on the rise

The pedagogical plan of El Sistema contemplated, since 1980, approximately, the foundation of exemplary pedagogical structures and models as scenarios for the training and improvement of musicians.

As the demand for children entering El Sistema and its nuclei has grown, projects for the construction of new educational centers are on the rise. Among them, the Simón Bolívar Conservatory, the Montalbán Children’s Academic Center, the Center for Social Action for Music, the Academic Center for Lutherie and the twelve Latin American Academies for the instruments of: Violin, Viola, Cello, Flute, Horn, Contrabass, Clarinet, Classical Harp, Trumpet, Oboe, Bassoon and Trombone.

http://www.musicabancaribe.com/Publicaciones/Libro_digital/VenezuelaEnElCielo/info/capitulo6/i/index.php#prev

The Simon Bolivar Conservatory

The Simón Bolívar Conservatory offers training of the highest pedagogical and artistic rank to the ever-increasing number of students, with a very complete curriculum of studies in which orchestral practice accounts for approximately 70%. The title of Performing Musician is granted, an important endorsement that allows graduates to continue higher studies at universities.

Photo of the Simón Bolívar Symphony Orchestra of Venezuela

“…the Simón Bolívar Conservatory has emerged as the head and model of a network of conservatories already established in Yaracuy, Carabobo, Aragua, Guárico and Ciudad Bolívar. However, I am excited and pleased with the new challenge we are facing: broadening the musical and artistic horizon of that large contingent of students that El Sistema has and of those who will join in the future.

These are the new contents: the Venezuelan Popular Music Teaching Program, in all its aspects, including that of Afro-Venezuelan roots; the Urban Music Program; the Jazz Program, which is already in progress with our Simón Bolívar Big Band Jazz Symphony and the Latin and Caribbean Music Program, which especially includes the salsa genre.

This is already underway with the creation of more than 15 pilot nuclei and the formation of a body of teachers specialized in these genres. The idea is that these programs capture and channel the talent of many musicians and students who have greater virtues for these musical currents, always pursuing and achieving the same level of excellence as those who perform symphonic music in our orchestras”.

Valdemar Rodriguez. Taken from the interview with Valdemar Rodríguez, clarinetist, Director of the CSB, creator of the Latin American Clarinet Academy, among other titles and positions, by Chefi Borzhacchini in the digital book Venezuela en el Cielo de Los Escenarios. Caribbean Bank, 2010

http://www.musicabancaribe.com/Publicaciones/Libro_digital/VenezuelaEnElCielo/info/capitulo6/ii/

Diversification of teaching, orchestras and festivals

In the same way that teaching has been diversified, including different musical genres –popular, urban, jazz, Latin Caribbean, salsa– other orchestras have emerged dedicated to developing each of these genres, as well as festivals to promote them at the regional level. These events, organized by El Sistema, revolve around an artist, musician, composer, instrument, or arise for the meeting between musical talents from various regions, local or international.

Among them are the FIP-Llanos International Percussion Festivals, the Spain-Venezuela Festival, the Festival of New Venezuelan Clarinetists, the Chamber Music Festival (in Mérida and Caracas), the International Flute Festival, the International Bassoon Festival, the International Festival of Clarinet, International Oboe Festival, Young Virtuosos Festival, Youth Festival, Young Directors Festival and Latin American Music Festival, among others.

Simón Bolívar Symphony Orchestra of Venezuela

The Simón Bolívar Symphony Orchestra of Venezuela (OSSBV) was founded by maestro José Antonio Abreu and is currently the apex ensemble of the National System of Youth and Children’s Orchestras and Choirs of Venezuela.

Under the musical direction of maestro Gustavo Dudamel, its 180 young musicians, whose ages range between 18 and 28 years old, named Ambassadors of Peace by UNESCO, have been trained in the Orchestral Academic Program of the Simón Bolívar Musical Foundation, through the which have received master classes with outstanding world-class teachers and soloists, including teachers from the Berlin Philharmonic, the Sibelius Academy in Finland, the Bach Academy in Stuttgart and the New England Conservatory in Boston.

His performances with internationally renowned conductors include Simon Rattle, Claudio Abbado, Daniel Baremboim, Krzysztof Penderecki, Essa Pekka-Salonen, and Lorin Maazel, among many others.

Other orchestras

Simón Bolívar Afro-Venezuelan Orchestra
Simón Bolívar Youth Baroque Orchestra
Caracas Youth Orchestra
Alma Llanera Youth and Children’s Orchestra of Guárico State
Simón Bolívar Latin Caribbean Orchestra
National Flute Orchestra of Venezuela
National Children’s Orchestra of Venezuela
Simón Bolívar Symphonic Rock Orchestra
Francisco de Miranda Youth Symphony Orchestra
Carabobo Youth Symphony Orchestra
Prison Symphony Orchestras
Teresa Carreño Youth Symphony of Venezuela

Bands

Simón Bolívar Youth Symphonic Band
Simon Bolivar Big-Band Jazz

Assemblies

Assemble 7/4
Carabobo Metal Assembly
Metal Ensemble of Venezuela

Chamber Groups

Simón Bolívar String Quartet
Liberators Quartet
Teresa Carreno Quartet
Yaracuy Quartet

Choirs

White Hands Choir
Simón Bolívar National Youth Choir of Venezuela
Network of Prison Orchestras and Choirs

More information at:

http://fundamusical.org.ve/agrupaciones/

The system in the world

The philosophy and methodology of El Sistema has had an almost magical ability to inspire artists, educators, and social activists across the globe, as Tricia Tunstall puts it in her book Changing Lives…“its guiding principles—the orchestra as school of civility and the passage from a vision centered on music to a humanistic vision of social change through music–” have been taken as a model to follow and El Sistema has been implemented or adapted in more than 66 countries in which five continents.

Programs inspired by El Sistema have emerged in:

AMERICA: Argentina, Barbados, Bolivia, Brazil, Canada, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, El Salvador, Guadeloupe, Guatemala, Haiti, Honduras, Jamaica, Mexico, Panama, Paraguay, Peru, Puerto Rico, United States , Saint Lucia, Trinidad and Tobago, Uruguay.
AFRICA: Angola, Kenya, South Africa, Uganda.
EUROPE: Germany, Armenia, Austria, Bosnia, Croatia, Denmark, Scotland, Slovakia, Spain, Finland, France, Wales, Greenland, England, Ireland, Iceland, Italy, Luzembourg, Norway, Netherlands, Portugal, Czech Republic, Romania, Serbia, Sweden, Switzerland, Turkey.
ASIA: Afghanistan, Japan, South Korea, Philippines, India, Taiwan, Vietnam, Singapore.
OCEANIA: Australia, New Zealand.

You can find more information at:

http://www.elsistemausa.org/el-sistema-around-the-world.htm

http://sistemaglobal.org/

http://www.sistemaeurope.org/

http://fundamusical.org.ve/category/el-sistema/el-sistema-en-el-mundo/

Renzo Padilla “El Borincaico”

Latin America / Peru / Lima

Renzo Padilla (Renzo Antonio Padilla Reyes) was born in Barrios Altos in Lima, Peru, on July 12, 1979. In search of a better future, in 1993 his parents decided to travel to the city of Buenos Aires.

Renzo Padilla. At the age of 15, Renzo began his career as a backing singer with the “New Band Salsa” Orchestra. His time with this group was brief, because later he would join the Orquesta La Original, made up of Peruvian musicians based in Buenos Aires.

In the year 2000 he moved to New York City, fulfilling a dream that he thought was impossible. That same year he signed a contract with the Grupo Fuerza Juvenil, he participated for two years in this group that was nominated for the Billboard awards in 2002.

He meets the timbalero Jimmy Delgado and he offered him a project to record, so Renzo resigns from Fuerza Juvenil and decides to record with Delgado, his first single titled Salsa con Dulzura. After this recording he was invited to accompany the most renowned artists in the world of salsa, such as: Frankie Hernández, Cheo Feliciano, Ismael Miranda, Cano Estremera, Ismael Quintana, David Pabón, Roberto Roena, Marvin Santiago, Meñique, Ray Barreto. , Adalberto Santiago, Cuco Valoy, Junior González, Paquito Guzmán, Yolanda Rivera, Luigi Texidor, José Bello, Pedro Conga, Cheo Andujar, Anthony Cruz, Luisito Carrion, Maelo Ruiz, Tito Nieves.

Another of his dreams came true when he met the master Willie Colon, he was invited by him to perform a song by Hector Lavoe, in a New York nightclub. He was also invited by El Gran Combo de Puerto Rico on several occasions.

In 2003, Ray Barreto and Adalberto Santiago met again, in which he participated as a chorister at the prestigious Carnegie Hall in New York.

In 2006 with bassist Ray Martínez he recorded his second album Alto Nivel, and recorded two songs with the Narváez Orchestra. In 2008 he sang with Jimmy Delgado at the Leyendas de la Salsa Concert, along with a lineup of artists such as Luis Perico Ortiz, Richie Ray, Bobby Cruz, Lalo Rodríguez and Adalberto Santiago.

Renzo also sang in the second part of the Legends of Salsa Concert in tribute to Ismael Quintana, where Tony Vega, Luis Perico Ortiz, Lalo Rodríguez, Héctor Tricoche performed, among others.

In 2009 he was a soloist with the Lavoe All Stars Orchestra, made up of musicians from Willie Colon and Hector Lavoe, such as Professor Joe Torre, José Mangual, Jimmy Delgado, Eddie Montalvo, Reynaldo Jorge, Milton Cardona.

In 2010 he was called by the New York group “Our Latin Thing”, to share the stage with Victor Manuel.

On the other hand, Renzo began to develop his talent as a composer. One of his compositions Donde Esta Tu Amor was recorded by Puerto Rican singer Maelo Ruiz.

In 2014 he got together with Jacob Plasse to form the Melaza Group, in which all the songs are his. In that same year, he participated in the largest salsa group, the “Fania All Stars”, and also sang for the recording of the Narváez Orchestra’s album 65 Infantería.

In 2015 he participated as a backing vocalist and as a singer in the concerts of the piano emperor Eddie Palmieri.

In October 2016 he was part of the Eddie Palmieri Orchestra that traveled to Lima to perform a concert at the National Stadium. He has been a vocalist for Los Hermanos Lebrón.

In 2017 he had a successful tour of different cities in Japan. Currently he continues to sing in Lima and on tour around the world.

This talented Peruvian singer is considered one of the promises of salsa. He will continue in his rising career of success and international recognition.

Luis Medina

Norte America / USA / San Francisco

Luis Medina, Con Sabor

During his tenure as the KPFA 94.1 FM Music Director, Luis Medina was a staunch advocate for the station music programs. His vast knowledge of different genres of music kept the music programming strong and relevant.

Through his direction, the station was recognized as a leader in innovative World Music programs that bolstered the genre’s popularity in the market. He also expanded the diversity of voices on-air by placing more women, Latinos and people of color as program hosts and producers.

Luis raised the visibility of the radio station through successful event sponsorships, including contract negotiation, live event marketing and promotion with the following partners: Live Nation, Another Planet Entertainment, SF Jazz, San Francisco Jazz Festival, Yoshi’s Jazz Clubs, Cal Performances, Monterey Jazz Festival, Stern Grove Festival, SF Flamenco Society, La Bohemia Productions, Slims/Great American Music Hall, Bimbos 365 Club and others.

Luis has tirelessly contributed to the station’s on-air fundraising campaigns as well as voice overs for public service announcements and in-house station promotions. He currently continues to work behind the scenes as music consultant for the station.

In his radio program Con Sabor, he has interviewed hundreds of renowned artists and musicians. His interview with the legendary Israel Lopez “Cachao” is featured in the PBS documentary film “Cachao, Uno Mas” produced by actor/producer/director Andy Garcia.

Luis was Entertainment Director for MECA (Mission Economic and Cultural Association) from 1986-1998. He managed the Cinco De Mayo, Carnaval San Francisco and the 24th Street Festival De Las Americas events during his tenure, coordinating programming for up to 3 simultaneous stages. He featured varied music from Rock to Brazilian to Salsa, as well as DJs and entertainment.

He was also an Entertainment Consultant and Director for SFCAT (San Francisco Cultural Arts and Traditions) from 2011 to 2012, which was organizing the SF Carnaval.

Other events and clients he has worked with include The San Francisco Giants, the Oakland Museum, the NFL Super Bowl Party, U.S. Navy Fleet Week Events, Cultural Music Productions, A.S.R.P. Productions, Terry Pimsleur & Associates, Salsa Dulce Productions, ARAM Productions and San Francisco State University.

Awards

The Armando Peraza Award for community service to the Latin and Music community, Voices Of Latin Rock Autism Awareness Benefit, 2012
Certificate Of Honor, City & County Of San Francisco for many contributions to Latin Music in radio and media as Music Director and Radio Producer/Host 2010.
Certificate Of Recognition, California Legislature Assembly for contributions to Latin Music through his work as radio host, producer and DJ 2010.
Achievement in Outstanding Lifetime Service in Radio – Western Region Puerto Rican Council 2008
Achievement In Latin Music Promotion-Lifetime Award-San Francisco Salsa Congress 2001
Espíritu De La Música Latina Award of the Marta Martinez Fund for Radio Programming excellence and positive contribution to the Northern California Latino Community, Marin County Foundation 1999

All this information was provided from Luis Medina official website http://luisemedina.com/

Tribute to Johnny “Dandy” Rodríguez Jr. His first recording was professionally with Tito Puente in 1964 and was titled “Exciting Rhythm of Tito Puente”

Johnny “Dandy” Rodriguez, (September 11, 1945, United States August 17, 2024) son of Johnny Rodriguez Sr. who was nicknamed “La Vaca”, remembered percussionist who was part of the orchestras of Tito Puente and Tito Rodriguez, among others; as we can deduce, music for Johnny Rodriguez is something clearly hereditary given that as a child he attended his father’s rehearsals and his mother was a dancer.

Johnny Dandy Rodriguez Foto By Miguel Martillo

To get an idea of the musical family, let’s say that Johnny Rodriguez Sr. also took part in performances and recordings with musicians and singers of the stature of: Alfredito Levy, Joe Quijano, Jose Curbelo, Lou Perez Louie Ramirez, Machito, Miguelito Valdes, Noro Morales, Orlando Marin, Pete Terrace, Pupi Campo and Xavier Cugat.

The father’s enormous musical background was emulated in a great way with ample merits by the son.

Dandy Rodriguez grew up in Spanish Harlem in Manhattan, his home was very musical and when he was in high school he learned the details of percussion represented by the bongos, congas, timbales and drums. Influenced by his father he became interested in music and so in 1962 he joined the band of maestro Tito Puente.

His first professional recording was with Tito Puente and was titled Excitante Ritmo De Tito Puente; after this first album with Puente, “Dandy” Rodriguez began to deepen his musical studies listening and learning from leading musicians such as: José Mangual Senior bongosero from Machito, Rogelio “Yeyito” Iglesias bongosero from Cachao and Vitin Palacio bongosero from Johnny Segui.

He worked with the King of Timbales for more than three decades, initially in the sixties, more specifically from 1962 to 1972, then he rejoined Tito Puente’s band at the end of the seventies and was part of it practically until the death of the famous King of Timbales.

In the extensive career of our Johnny Rodriguez in music we must mention his internship with Joe Cuba’s orchestra, with whom “Dandy” Rodriguez himself says he participated in seven or eight albums since the mid-sixties; the first of them titled Joe Cuba Sextette – Comin’ At Yous; without forgetting to mention that in those albums the name of Johnny Rodriguez Jr. does not appear in the credits due to issues related to contracts with record companies.

His stay with Puente was not a limitation for him to be part of other musical groups, so he also worked for several years with another great of Latin music, the remembered Tito Rodríguez. He was also part of the band of the famous conguero Ray Barreto, replacing Tony Fuentes, and was one of the founders of the famous Típica 73 in 1972 and even took part in a couple of albums with Machito.

In the seventies, during the Salsa Boom, “Dandy” Rodriguez left his mark on recordings with: Jose “Cheo” Feliciano, Charlie Palmieri, Roberto Torres, Willie Rosario, Ismael Quintana, Celia Cruz & Johnny Pacheco, Louie Ramirez, Richie Ray & Bobby Cruz, Fania All Stars, Alfredo De La Fe, Conjunto Clásico, Henry Fiol and Tito Allen.

As we mentioned before, John Rodriguez returned to the band of maestro Tito Puente in 1978 and was part of the band until Ernesto Antonio Puente’s death in 2000 at the age of 77; he participated in this cycle in at least twenty musical works apart from a large number of concerts and performances on tours in different countries around the world.

During those two decades with Tito Puente he also worked with other musicians, singers and groups such as: Miguel Quintana, Roberto Torres, Charlie Rodriguez, Tito Allen, Alfredo De La Fe, Azuquita Y Su Melao, Charlie Palmieri, Celia Cruz & Johnny Pacheco, Paquito D’ Rivera, Raulin, The Bronx Horns and Angelo Vaillant.

Luisito Quintero, Johnny Rodriguez y George Delgado

During the first two decades of the new century, the musical work of maestro Johnny Rodriguez continued and his musical mark has remained in other publications with The Latin-Jazz Coalition, Frankie Morales, Eddie Palmieri, Gilberto Santa Rosa, George Delgado, Victor Manuelle, Rick Arroyo, Orestes Vilato, Mitch Frohman, Cita Rodriguez, Doug Beaver, Adalberto Santiago and Jeremy Bosch.

Also, special mention must be made of the participation of maestro Johnny Rodriguez with a group called The Latin Giants Of Jazz, in the best style of the classic Big Bands made up of great teachers, including some of the former members of maestro Tito Puente’s band; with this group they have published four albums; this project gave rise to another band called The Mambo Legends, who recorded the album entitled: Watch Out! Be careful!

John Rodriguez is without a doubt one of the most prolific percussionists in the world of Latin music called Salsa. The nickname “Dandy” dates back to his childhood when the car he was driven in was bought at a store or shop called “Dandy” and people said look how cute “Dandy” is and from there he stuck with that nickname. In music he is better known as Johnny instead of John.

In (the year 2022) the experienced Johnny Rodriguez had three or four groups with which he is playing, including Dandy Rodriguez and his Dream Team, while teaching percussion classes online.

He is one of the true legends of Latin music, not to mention that his talent has also been reflected in recordings for other musical genres such as: Electronic, Folk Rock, Folk, World & Country, Funk / Soul, Heavy Metal, Jazz, Stage & Screen, Jazz-Funk, Merengue and Pop.

In his very extensive artistic career, maestro Johnny Rodríguez was part of historic and iconic recordings of our musical culture, some of these albums have been worthy of awards such as the Grammy Award, among which are:

Tribute to Beny Moré – Year 1978

On Broadway – Year 1983

El Rey: Tito Puente & His Latin Ensemble – Year 1984

Mambo Diablo – Year 1985

Goza Mi Timbal – Year 1990

Mambo Birdland – Year 1999

Masterpiece / Obra Maestra Tito Puente & Eddie Palmieri – Year 2000.

“In 2008, Johny entrusted LP’s Research and Development Department with the design of the John “Dandy” Rodriguez Jr. Legends Series bongos. John is proud that these drums, which bear his name, feature such outstanding sound and visual characteristics.”

Also Read: Jerry Ferrao says in salsa key: “My life is a drum”

Collaboration: Marino de Jesus (1588) from Salsa History from the Dominican Republic

Robert Tellez is undoubtedly “El más que sabe de salsa” (The one who knows the most about Salsa)

Recently, the second edition of the authorized biography of Míster Afinque, entitled Willie Rosario, El Rey del ritmo, was released. This work is authored by journalist and music researcher Robert Tellez M. The publication of this second edition of Willie Rosario, El Rey del ritmo came just in time to add to the centennial celebration of the musical leader, who has managed to keep his orchestra active and alive for more than six decades.

Photo by Sandro Sanchez Robert Tellez — Robert Tellez (Photo by Sandro Sanchez )

With this second edition, in alliance with our publishing house, the author was pleased with the treatment of the content and in his appreciation tells us: “This is a documentary work that exposes the different facets of the maestro Willie Rosario: the human being, the family man, the radio broadcaster and of course the leader of the “Banda que deleita””.

Fortunately, during the five years that followed the publication of the original text, maestro Willie Rosario has remained extremely active. In addition, since 2019, the orchestra leader has received several awards; so it was quite easy to collect data and photos that allowed us to expand the text with unpublished content.

As a journalist and researcher, Tellez affirms the importance of the text while clarifying: “This book is also a contribution to the preservation of the memory of salsa, a task that requires a rigorous, precise and responsible approach, ensuring adequate documentation for present and future generations. In my opinion, the work of building this memory is an inherent duty for communicators who are dedicated to disseminating this musical expression.”

Robert Téllez con Willie Rosario — Robert Téllez and Willie Rosario

Who is the biographer of Mister Afinque?

Labeled as “the one who knows the most about salsa”, Robert Téllez Moreno is a journalist. Within journalism, he has excelled in different media. He says he prefers his facet as a radio broadcaster, a branch in which he decided to specialize since he was a child. However, Robert has also made a name for himself in the press and has ventured into television. Specifically, his interest in salsa music led him to be the biographer of Willie Rosario, his third literary work entitled Willie Rosario, el Rey del Ritmo (Willie Rosario, the King of Rhythm). His first literary publication was Ray Barretto, Fuerza Gigante and his second was Frankie Ruiz, Volver a nacer (co-authored with Felix Fojo).

A passion for salsa, but first a passion for the radio

Robert says that his first encounter with salsa was inexplicable. It happened when he was a child by way of the Martínez family, some Caleños who moved in across the street from the Téllez Moreno home, located in a popular neighborhood. In the mid-1980s, the Martinez family came to live in a neighborhood that did not accept them as noisy, because the Bogotá of that time was very conservative. Bogota belonged to the Bogotanos, and those who came from other parts of the country were in the minority. Robert’s mother went further and said that the Martínez were marihuaneros, not because she saw them smoking marijuana, but because she thought it was too noisy for the tranquility of the neighborhood before the arrival of the Caliños. Téllez adds: “I was struck by the fact that since they arrived they had parties every weekend; Thursday, Friday and Saturday. There was music all night and they would wake up there. In reality, they were family parties.”.

“Uncles, nephews, cousins and brothers shared that taste for music there. The only thing you could hear was salsa at a time when salsa was not the prevailing thing in Bogotá. That sound attracted me. That’s where I identify that my passion for this music began. Of course, first came a greater passion, which was the passion for the radio. I connected them very early in my childhood. I was attracted to what I heard. However, my brothers listened to Anglo American music. They heard other kinds of sounds. Break dancing was coming in, American music was invading us. Ballads were what my sister liked; the romanticism of Juan Gabriel, Camilo Sesto and all that kind of music. Vallenato was also listened to a lot, but the only thing that made an impact on me was salsa. As my love for salsa was born without explanation, but it arrived, I romantically say that salsa touched the window of my room, and I fell in love with it. It’s just that the room in the living room where those parties were held faced my bedroom window.”

Robert Téllez con Ismael Miranda — Robert Téllez and Ismael Miranda

A potential programmer

At just 7 years old, Robert began to understand the workings of radio as a means of communication and entertainment intuitively. He recalls how for as long as he can remember, he imitated the announcers of the moment, knew to tell the time; maintaining awareness of the time in relation to the songs in the order of radio programming. Sometimes he reasoned and concluded: “that song played a while ago and so he tried to understand everything that was happening on the radio”. However, that station did not play salsa; it played ballads, vallenatos, American music, and other genres. Of course, within the musical environment available, since he was a child he began to understand the style of the whole radio world and there he drew a line of programming. Later, when the Martinez family arrived in the neighborhood, Robert was able to connect the radio with salsa. However, he says, “I didn’t even have a record in my house to be able to have a reference. The arrival of the new neighbors coincided with the arrival of a Caracol FM station called Bienvenida Estéreo, the director was Rodrigo Salazar. Today I understand that Salazar began to program salsa in a city that was not salsa. But he came from Cali and tried to program the first salsa station in Bogotá, on FM”.

At just 8 years old, the precocious programmer had already won a radio contest that consisted of going to the station that sponsored the contest and doing voice-over, presenting songs and having the listeners select the winner. Robert does not remember which song he presented, but he does remember that he knew the station’s slogan, told the time, said his name and went to commercials. With the memory vivid in his mind, Robert adds, “I won because of the confidence I had. The other kids were shy. Many were silent on the air.”

In spite of his young age, with discipline and precision he remained engrossed by the radio, listening to it as if it were a mandatory activity. He knew all the programming, made programming spreadsheets and began to understand how the songs rotated and to memorize the songs that were played in the morning and later played at noon and then at night.

I began to understand everything and to compare different stations. Already with his critical thinking polished in the prediction of musical themes within the programming lineup, he began to participate in radio competitions in which they gave away records on a weekly basis and, “as that was what I wanted, to have records, then I became quite tired”. He continues his story, stating: “I think they already knew me there and I always guessed what the number one song of the week was. Since I had the program listings, it was easy for me”. That’s how he got his first album: Salsa Fever, (1988, Gunda Merced y su Salsa Fever). But, he had nowhere to listen to it. He put it in his room, looked at it and read that the record had the song ‘La familia’ on it. He went to a friend’s house to listen to it. After listening to it several times, he returned home and put it away again. Later, that LP gave him entry to the Martinez house, and established him as the DJ of the family parties; at first programming what they told him so that people would dance. About that entry, Robert adds: “Later I learned and I was already programming according to what they liked”. Later, that experience led him to play music at youth parties of the time that were called “minitecas” and to earn his money programming.

At just 14 years old, he went to his first concert, to see Grupo Niche, during the time when Tito Gómez was part of the front. It was also in those days when, in addition to being the Martínez’s DJ, he had already convinced the parents’ association of the public school where he was studying that it was time to create a school radio station. First they gave him permission to animate the breaks that were half an hour. He used the school recorder and placed it in front of the microphones, which were the same ones used for protocol activities. From there, Robert would give the time and announce the songs. Later on, a messenger service was created to guarantee the permanence of his radio functions on campus.

When he finished high school, he went to do mandatory military service in the Colombian army. There he had already defined that he wanted to study Social Communication and Journalism, but he had to go to the army first. Going to the army was not his worst drawback; the real impediment was the lack of money to pay for a career.

Before applying for the army he sold everything, even his records. He later regretted it, although the money came in handy to survive in the army from 1992 to 1993. He served days after Pablo Escobar’s death. While in the army, he did not stop listening to the radio, nor did he stop listening to salsa. In order to have access to the radio, he was designated to carry and maintain the communications radio and to prepare the sergeants’ reports. As a reward, he was allowed a transistor radio to listen to commercial radio. That radio wave accompanied him in the army and that is how he learned of Hector Lavoe’s death on June 29, 1993.

Eventually, in January 1994, he began studying at the Colegio Superior de Telecomunicaciones in Bogotá, and was also employed full time at the Luis Ángel Arango Library. On Fridays and Saturdays, after his shift at the library, he would go to El Canelazo to program music until 3:00 a.m.

Once graduated from the Superior College of Telecommunications, the recent graduate was disappointed at not being able to enter the media because he did not have a referral. Later on, a client of the men’s fashion store that Robert managed, more out of necessity than for pleasure, recommended him to Gilma Camelo de Tobón, who gave him his first opportunity in the radio. About this, the journalist says: “she gave me the opportunity to enter the radio without having a name, without being anyone, without having had any experience working in the booth”. This is how Téllez entered Radio Capital that first of three times, in 1999. In his first on-air program, hosted by Henry Segura, Téllez was in charge of programming and news reading. In his second contract, in 2001, he programmed the station, but this one was boleros. Eventually, Robert took over the station, turning it into a 100% salsa station, 24 hours a day.

Already with the maturity of one who can choose his functions, Robert has dedicated himself to interviewing salseros. “That’s what I started to like more than the programming itself and they say that what I do best is the music programming, but interviewing is where I think I add the most to salsa and the media (…) because I am original, because I already have a method that works well for me. Some people want me to share my interviews in order to plagiarize them”, says Téllez, who remembers having made his debut as an interviewer with Ismael Miranda in 1998.

In the editorial field, Téllez was founder and director of Sonfonía magazine. Sonfonía was first a portal that was managed as a virtual magazine and then went to paper, to which Robert adds: “It was an economic failure, but we did it”.

From there it went to Superestación Salsa, which is an important brand within Colombian youth radio and was a milestone in the 80s. Under the brand, Superestación rock, Superestación ballada, super pop station and super vallenata station were created. Within that conglomerate, Robert came to be the founder of Superestación Salsa under the online radio system, as director of that salsa concept.

In 2012, he accepted to be the manager of singer Miles Peña, and successfully represented him for a year. However, in 2013, when he accepted a contract with Radio Nacional de Colombia, he had to terminate his representation agreement with Miles. Of course, they are still linked by a great friendship that survived beyond that artistic representation agreement. And as for his imprint on Radio Nacional de Colombia, for nine years he directed and hosted the weekly program known as Conversando la salsa con Robert Téllez. In that space, in which more than 400 unpublished interviews were published, hundreds of key figures in the musical memory of salsa were made known. There at Radio Nacional de Colombia he also maintained a podcast, entitled Cronología de la salsa as well as La salsoteca, digital content produced specifically to interact with salsa fans during the COVID-19 pandemic.

Today he is an advisor to a Christian radio station, Ambiente Estéreo, of which he was director a few years ago. Before directing it, he had a program entitled Salsa de verdad. In that space, in which he listened to salsa dura, he even programmed non-Christian artists who have recorded songs with a biblical message.

According to Téllez, his greatest professional achievement has been to write the biography of the longest-serving salsero who remains active playing his instrument and directing the oldest salsa orchestra in the salsa scene. In addition, as a result of that work he achieved a close relationship with Dr. Willie Rosario, adding: “that has no comparison”. Robert is welcome in Willie’s home, and often shares phone calls in which he is free to talk about any subject, including politics and religion. These are privileges he is humbled to receive, which he insists have come about because of the publication of the literary work. Regarding this achievement, Tellez shares with us: “Having the privilege of being the biographer of maestro Willie Rosario represents the pinnacle of my work as a researcher and journalist. It is an honor that transcends into a deeply rewarding and enriching experience. The opportunity to delve into the life and work of such an emblematic figure in the world of Latin music as Maestro Rosario has been a fascinating journey, full of invaluable discoveries and learning. Robert was recently invited by the Senate of Puerto Rico to be t Robert Téllez M.’s musical knowledge has been requested and published in prominent media such as Revista Nómadas, – a scientific publication, with an interdisciplinary approach and monographic character. – of the Universidad Central de Colombia. He has also collaborated with Latin Beat Magazine, Agencia EFE, Semana Magazine, Caracol Televisión, El País de Cali Newspaper, El Heraldo de Barranquilla, El Tiempo Newspaper and El Espectador Newspaper, among others.

Robert Téllez en el Capitolio de Puerto Rico — Robert Téllez at the Capitolio de Puerto Rico

Full time and overtime -because his days are approximately 12 hours working for the responsible documentation of salsa- he is a repository of stories that nurture what he has aptly called the memory of salsa. Currently, he is building a comprehensive project and, as he says: “I believe that this will be published, but we will disclose it in due time”.

The second edition of Willie Rosario, El Rey del ritmo is the second work that author Robert Téllez M launches in collaboration with Be more. The first was the translation of Ray Barretto, Fuerza Gigante (Unos y Otros Editores, 2016) under the title: Ray Barretto, Giant Force (Be more, 2021), which won a silver medal for best translation from Spanish to English in the 23rd International Latino Book Awards.

For me as an editorial leader, the publication of this work is of utmost importance not only because my roots, like those of maestro Willie Rosario, come from the Center of the Universe, as Coamo is known, but also because I am passionate about the cultural and historical context in which salsa has developed as an artistic and sociological movement. For my work team, it is a priority to disseminate the memory of salsa with the responsibility and scientific precision with which history is written.

Also Read: A party of dancers at the concert to celebrate Willie Rosario’s 100th birthday