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Kizomba Conquering the World of Salsa

North America / USA /

These are some of the things I learned about Kizomba when my boss told me to write about it: Its official language is Portuguese; I bet you didn’t know that, either.

See, even when we thought we knew about this music genre, because we hear it at parties, get together or social events; as a Caribbean music, known by its movements that are alike the common Latin rhythms, it actually comes from Angola; a country in Southern Africa, near Namibia; and its official language is Portuguese.

That is why the first and most popular Kizomba songs are in Portuguese.

Diogo Cão was that responsible Portuguese explorer to discover Angola and to determine its official language and culture. Who could possibly know that after the colonization era, MUSIC would be that one thing capable of combining cultures and mixing beats taste between humans? Kizomba is a clear example of that. Another fun fact is that its name comes from Kimbudo; which means ‘party’, maybe that’s why it’s so exciting to dance it.

It’s good to know that its characteristic for its slow and sensuous rhythm, came with a mixed touch of African rhythm and Haitian Kompa, until it became the one we know now a day. In the 1990s, when the actual Kizomba got more and more popular, Angolan semba dancers started to adapt their semba steps, according to the tempo and flavour of the Kizomba beats.

Back in the 60’s, the big parties were referred as: “Kizombadas”; since at that time, Kizomba wasn’t really “Kizomba”. Imagine calling your own parties like that, funning right? Many other dance styles from other continents were also enjoyed, since the rest of Africa received the influence of many other cultures; as a result of African rhythms and European styles.

As Angola did with Portugal. During the years, it has spread ALL AROUND THE WORLD; to countries like: England, France, Spain, Poland, Denmark, Belgium, Sweden, Belarus, Lithuania, Egypt, Switzerland, Serbia, Canada and the United States of America. And now, we hear it in South America, through all these famous artists like: Prince Royce, Romeo Santos and Juan Luis Guerra.

Not always was Kizomba defined, as we know it today. See, through the years, it has been confused with other genres like Cape Verdaen; which turned out to be the first similar rhythm before Kizomba was, what it is today. Many immigrants confused Cape Verdaen rhythm with Kizomba vibes, back in the 80’s. This genre comes from Cape Verde, in Africa; where the official language is Portuguese as well, and their movements are very similar.

Another interesting fact that I learned about the origin of Kizomba, was its first popular name, “Zouk”. It is good to know that this term represents the origin of Cape Verdaen and Kizomba, because people used to call every type of music by this name. Now with the other name, Kizomba, people can tell them apart. In the history of Kizomba, we will find the popular Brazilian Zouk dance, evolved from a dance called Lambada.

In this following video you could see how to dance Zouk and Lambada https://www.youtube.com/watch?v=BlK5oIjVNfM By HOWCAST

https://www.youtube.com/channel/UCSpV HeDGr9UbREhRca0qwsA

I know what you are thinking; How many dance types come from the same one? That in fact is the magic of Kizomba; it involves so many rhythms and cultures and that’s why it as special and popular, as it is today.

Lambada, was a dance that took over most night clubs in Brazil; especially, in Rio de Janeiro. In the mid 90’s, Brazilians discovered Zouk from the French Caribbean; which had many similarities with Lambada, because of its Caribbean rhythm influence.

Soon, Lambada started to adapt to Zouk. However; Zouk’s rhythm was slower than the Lambada, so it was necessary to make alterations to the dance, including to its basic steps.

All Zouk professionals then decided to call Lambada style, Brazilian Zouk (Zouk Brasileiro); with the objective to protect their culture and also with the objective, not to interfere with different culture’s interpretations of Zouk.

Ghetto Zouk Dance is one type of Zouk that a couple dances to, very closely with higher dynamics, fun, flow and precision, that follows the ghetto Zouk beat. It combines the basic Kizomba steps and techniques, with faster rhythm in footwork, requiring firm posture and higher level of power, pressure and movement control from both partners.

In the Ghetto Zouk Dance, both partners share the same amount of pressure, tension and impulse which makes, especially the ladies, be more involved in the dance. It also improves the communication between partners and helps them to maintain the flow. Ghetto Zouk Dance uses syncopated rhythm more often to better reflect the beat. In practice, it is demonstrated by faster footwork than the one of Kizomba and higher overall dynamics of the dance.

Unlike very soft movements of Kizomba, Ghetto Zouk Dance applies more energy and extension, while still emphasizing the precision of the movement.

In this link https://www.youtube.com/watch?v=7n9p DcSGwgg you will see how to dance Guetto Zouk step by step. By GHETTO ZOUK DANCE & KIZOMBA PRAGUE https://www.youtube.com/channel/UCA6q QHYwbcfaIQNL23tKk-A

Knowing its steps, in some places of the world, Kizomba is known as African Tango. The body position is very similar to the Argentine Tango, with the upper body leaning forward with head touching at times.

The lower body, particularly the hips, is very fluid using forward, backward and circular movements, in connection with the partner. Like salsa, dancers can break apart and perform ‘solo’ movements.

Everything we learned today about this music genre and its origin leaves us the knowledge that cultures were made to mix up, to blend with others and to spread their believes. Music is that one thing supposed to teach us, how to enjoy life and make dancing as special as it is. The different styles and movements make us feel part of their culture and origin.

Involving all tastes and rhythms, known by its slow, insistent, somewhat harsh, yet sensuous rhythm, as the result of electronic percussion, some of the most popular Kizomba and Zouk artists of all times are:

Kaysha, the Democratic Republic of the Congo (1974 – present):

Kaysha is a French-based musician originally from the Democratic Republic of Congo. His music is a blend of styles such as kizomba, rhumba, zouglou, zouk, zouk love, calypso, R&B, and hip hop. Kaysha is also a successful music producer, having produced songs for some of the bestknown artists on the Afro-Caribbean scene, including Passi, Solaar, Jacob Desvarieux, Soumia, Lynnsha, Elizio, and Ludo.

Elizio, aka Mister ODC (Original Di Cabo Verde):

He is a singer-songwriter, born in Angola in 1979; of Cape Verdean origin. Revealed with the title 10 fois, 100 fois featuring Perle Lama in 2003, Elizio quickly meets his first big solo success with Melodia which leads him to the top of the zouk scene. The artist then connects the tubes and expands his musical universe with more than 70 titles, ranging from general dancefloor with sounds like Bad Man on Kizomba with Angel or Make love on tempo in particular, through the kuduro as Sabi Di Mas.

Anselmo Ralph Andrade Lamb (born 1981 in Luanda, Angola):

Better known as Anselmo Ralph; is a singer of R&B, Soul and Kizomba. In January 2006 he released his first album titled “Love Stories”. That year he was nominated by the Channel O Music Video Awards in the “Best R&B” and “Best Director” categories, and by the MTV Europe Music Awards 2006 in the “Best African Artist” category.

Anselmo Ralph - Kizomba — Anselmo Ralph – Kizomba

In 2012, Coca-Cola announced a promotional campaign featuring Ralph, their first with an Angolan artist. As of January 2013, Ralph was touring the Benguela region of Angola to promote his album “Best of Anselmo Ralph”, which premiered the month before in the #5 position on the Portugal Albums Top 30 chart.

Nelson Freitas was born and raised in the Netherlands, with creativity and talent he constantly tries to refresh the world of Zouk music. In 1997 the compilation CD of “MOBASS Presents” was released featuring the track, “Hoje em Dia” (Now a Days), which officially launched Quatro Plus (formerly known as Quatro) in the market. As one of the lead singers of the group, Quatro Plus went on to release three successful albums “4-Voz” (Four Voices) in 1998, “Bem Conche” (Get to Know Us) in 2002 and “Ultima Viagem” (Last Voyage) in 2005.

Nelson Freitas - Kizomba — Nelson Freitas – Kizomba

In almost a decade, Freitas has earned what’s rightfully his as he is of the most admired and respected producers, singers and writers in the Cape Verdean as well as the Zouk music industry. With a blend of Cape Verdean Kriol and English lyrics, a twist of R&B and hip-hop incorporated with Zouk and traditional Cape Verdean music. With all these ingredients Nelson made his solo album called “Magic” In October 2006.The album sold over 25.000 copies worldwide.

Don Kikas, born Emílio Camilo de Carvalho, is an Angolan singer from the city of Sumbe in the southern Angolan province of Cuanza Sul. In 1997, Don Kikas released his second album, Pura Sedução which was silver in Portugal. That same year, the album’s Esperança Moribunda song received the “Music of the Year” award granted by the Rádio Nacional de Angola (national radio station). By this time, invitations were extended for Kikas to perform at international level. His third album, Xeque Mate, released in December 1999, produced a totally-renewed Don Kikas as it included songs recorded in three different countries and featured foreign musicians as well.

Don Kibas - Kizomba — Don Kibas – Kizomba

Soumia is of Moroccan origin and was born on August 27, 1977 in Saint Mandé in Paris. She made her appearance onto the music scene first in 1998 singing a duet with Talina on the RUBIZOUK compilation album. Since then, she has been featured in numerous compilations including ZOUK R&B VOLUMEs I, II & III; TROPICAL HIT MACHINE and SECTION ZOUK. She released her first album STILL IN LOVE in 2002 and her hits include Mes Sentiments; Trahison; and Avec des si ou Rendez moi.

Rick Arroyo

North America / USA / Las Vegas

Meet the 2008 Las Vegas Latin Music Awards Winner in two categories Best Latin Jazz Band and Best Latin Jazz Performer, Rick Arroyo. Him and the Latin Percussion Ensemble provides the very best in Steel Drums, Jazz, Latin Jazz ( Afro-Cuban and Brazilian ), Salsa for Dancing and contemporary Jazz.

Born in the Bronx, New York, Rick started playing professionally music when he was 15 years old. Began playing piano at the age of 9, drums at age 11, congas and vibraphone at the age of 14.

Composer, Arranger and Las Vegas Latin Awards Winner in 2 categories, Rick Arroyo appeared in The Coral Reef Lounge at Mandalay Bay every Monday night for four years with his 10 piece Latin dance band, The Latin Percussion Ensemble.

He has played at The Blue Note, The House Of Blues, The Rio, Aladdin, Wynn, Tropicana, Bally’s, Venetian, Stardust, Sahara, Circus Circus, Harrah’s, Imperial Palace, Monte Carlo, Gordon Biersch Brewery, The MGM Grand & MGM Grand Garden Arena, Bellagio’s, Caesar’s Palace, Mirage, Treasure Island, Orleans, Flamingo Hilton, Las Vegas Hilton, Paris Hotel, Rancho Santa Fe Station, The Stardust, New York, N.Y. ( in the George Hamilton Cigar Lounge) Green Valley Station, Boulder Station, Sam’s Town, Alexis Park Resort, Stratosphere, Fremont Street, Riviera, Primadonna, Lady Luck, Avi Casino, Red Rock Casino, Renaissance Hotel, Suncoast Casino, Furnace Creek Inn, Four Seasons and many other locations in Los Angeles, Denver and in Las Vegas.

Rick has performed at several of The City Of Lights Jazz Festivals, The Clark County Amphitheatre, The Reed Whipple Community Center and other venues including radio and television Simulcast.

Rick has recorded and played with Esteban, Tito Puente Jr. Poncho Sanchez, Steve Rossi, Luis Conte, Bill Laster, Karen Briggs, Dick Mitchell, Dan St. Marsais, Artie Webb, Francisco Aguabella, Papo Conga, Dan Weinstein, David Romero, Joe Torres, Poncho Roman, Johnny Conga, Papo Rodriguez, Tata Palau, Johnny “Dandy” Rodriguez, Ghalib Ghallab, Luis Miranda, Bobby Matos, Johnny Polanco, Pachito Alonso, Eddie Resto, Larry White, Hector Casanova, Dick Berk, Ramon Flores, Art Velasco… Shared the stage with The Yellow Jackets, Fatburger, The Rippingtons, Gerald Albright, Richard Elliot, Carl Fontana Everrett Harp, Gilberto Santa Rosa and many others.

Rick Arroyo - Collash — Rick Arroyo – Collash

He has opened for Tito Puente, Willie Chirino, Gilberto Santa Rosa, Jesus Alemany, Cubanismo, President Barack Obama, David Benoit, Richard Elliott, Michael McDonald, Donna Summers, The Beach Boys, Sammy Hagar and many others.

Rick Has performed for Jenny Jones, Maurie Povich, Oscar Goodman, Shelly Berkley, Chip Maxfield, Senator Harry Reid, Barack Obama, Monte Rock, Joe Cortez, Robin Leach, Oscar De La hoya and many other celebrities.

Juan Sebastian Bar “The Temple of Jazz and Salsa in Caracas”

In the heart of the city, there is a refuge of sophistication and art: Juan Sebastián Bar.

Delight your palate with our cocktails, each a fusion of classic flavors and contemporary notes, while live jazz and salsa create the most special melodies.

In the heart of the city, lies a refuge of sophistication and art, Juan Sebastián Bar.

Aldemaro Romero, Alfredo Sadel, Billo Frómeta, Dámaso Pérez Prado, Tito Puente, Bobby Capó, Pedro Vargas, Leo Marini, Libertad Lamarque, Ray Barreto, Lucho Gatica, Olga Guillot, Marco Antonio Muñiz, Julio Gutiérrez, Vicky Carr, Armando Manzanero, Sergio Mendes.

They all passed through Juan Sebastián Bar, the so-called temple of jazz, but which is actually a brotherhood of music lovers. For 43 years it has been a reference in Caracas’ nightlife, even with its ups and downs. Every night, from Tuesday to Saturday, it offers a space for disconnection.

That brick cave, with its cork walls and the bar illuminated with bottle bottoms, has its anecdotes, the first one sinceevery night the famous saxophonist Victor Cuica threatened them and the second one. It stars the maestro Aldemaro Romero in a taxi heading to the place, one of his usual places to eat and drink.

The taxi driver who is already approaching the place located in El Rosal, comments: “poor those people who could not complete the facade and left it in bricks.” The scene speaks of that ostentatious and cosmopolitan Caracas of the seventies and eighties. The truth is that over the years the area was transformed into a financial district of large glass towers and the two-story brick house became the after office on Venezuela Avenue.

The name of the establishment, founded by Eleazar López Contreras -yes, the grandson of the former president of Venezuela- is a play on words with the name of the composer Juan Sebastián Bach, who holding a pair of cutlery serves as the logo for the business, under the design of Jorge Blanco, the famous illustrator who created the character of the Castaway.

In choosing the place, they considered other equally humorous options such as Bar Thoven.

The musical repertoire ranges from jazz to salsa. In the place you can listen to virtuosos of these genres such as Frank Sinatra, Ella Fitzgerald, Tonny Bennet, Héctor Lavoe and Willie Colón, among others.

Alfredo Naranjo, a percussion virtuoso who has left his mark on the international music scene, will delight us once again with his incomparable talent.

He recently participated in the Chicago International Festival and has received a Latin Grammy nomination for his unparalleled percussion performance on the album: Soy Puro Teatro: Tributo a La Lupe by Mariaca Semprún and with her, he also recorded a version of the gaita María la bollera.

Considered one of the greatest exponents of salsa and Latin jazz, Alfredo Naranjo has a long career that began at an early age at the Conservatory of Music of the National Youth Orchestra.

In 1986 he joined the Gran Mariscal de Ayacucho Orchestra, and then continued his training at the University of Long Island, New York.

He has played with artists such as Dave Samuels, Tito Puente, Ray Charles, Alex Acuña and Carlos “Nené” Quintero, and groups such as Guaco and Ensamble Gurrufío. Cheo Feliciano referred to him as “the best vibraphonist in salsa.”

He has been the leader of El Guajeo, a fundamental piece of contemporary Caracas. He has recorded albums such as Cosechando (1993), A través del tiempo (1997), Vibraciones de mi tierra (1999), Alfredo Naranjo y El Guajeo I y II (2001 y 2006), México Music Fest (2011), Lado A Lado B (2015) and Be Jazz Sessions (2018), an album that was awarded at thePepsi Music Awards in the Jazz Album category.

Enjoy a unique evening in a sophisticated atmosphere, where the passion for music is breathed in every corner.
Let yourself be seduced by the enveloping rhythms of Latin music in a sophisticated atmosphere.

Every Wednesday, Dj. Augusto Felibertt transports us through a unique musical journey.

Every Wednesday, DJ Augusto Felibertt takes us on a unique musical journey.

We look forward to seeing you at @Juansebastianbar to enjoy an unforgettable evening!

Wednesday to Saturday from 5:00pm on Venezuela Avenue and Mohedano Street, El Rosal.
Reservations at 0414-3080587

Also Read: Gato Barbieri was an excellent and virtuoso Argentine saxophonist par excellence

Here we have Brazilian bandleader and composer Paula Maya

Today we have an exclusive that makes us very happy, since it is a talented artist from a country we had never talked about in this section: Brazil. We are talking about none other than the award-winning bandleader, composer, pianist, keyboardist and singer Paula Maya, with whom we had the privilege to talk by Zoom.

Paula has a very interesting background, since she was born in the South Zone of Rio de Janeiro, the birthplace of the world famous bossa nova genre and the popular composer, pianist and singer Carlos Antonio ”Tom” Jobim. It is clar that this had much to do with artistic inclinations that the woman would show later in her life.

Under her belt, she has several nominations and awards she received thanks to her talent and effort of so many years as her nomination to the Focus Web News Brazilian International Press Awards in the category of Best Brazilian Musician living in the US, her nomination to the Austin Chronicle Music Awards in the category of Top Ten World Music Bands, Winner of the Seattle Weekly Awards in the category of Best Brazilian Composer, her nomination to the Seattle Hot Rocks TV Show Music Awards in the category of Best Female Singer, among others.

Here are the most important topics we touched with lovely Paula about her life and career.

Singer Paula Maya — Brazilian bandleader, composer, pianist, keyboardist and singer Paula Maya

Paula’s early interest in music

Paula first developed an interest in music when she was only four years old or even younger, as she had musical toys such as pianos or keyboards she used to play with all the time. To this it is added that her mother always listened to classical music, which she already found beautiful back then.

What is interest about his direct family is the fact that there were no musicians in it. In fact, her father was a lawyer and her mother was a dancer and yoga instructor, but a cousin of hers was a bandleader, composer and music teacher who traveled to the United States and developed quite a big reputation at the time, so he became an example for Paula, who would end up following in his footsteps in the future.

When she turned 10 years old, she began taking piano lessons, which was her first formal experience with music. Since then, she has continued to learn about a lot of instruments and areas related to this art, which she assures that it is so rich and diverse that you never stop learning new things.

Paula’s mentors in music

Paula has been very fortunate to be mentored by some of the most talented musical celebrities in Brazil and one of them was producer and percussionist Teo Lima, with whom she has continued to work on her latest album to the present. Paula met this Brazilian legend in Seattle, where she lived for 17 years, and music led them to form a great friendship that has lasted until today.

They had wanted to make an album together for many years and it has finally happened, which was a dream for Paula, as she grew up listening to his greatest hits and dreamed about one day meeting him. Not only did she meet him, but also she became his friend and worked with him.

Another name we can leave out is guitarist Baden Powell, whom Paula met in her early twenties and describes him as someone who supported her a great deal in her career and even came to her shows to watch her sing.

Another artist who was important in her training was Luizihno Eça, who was one of the greatest exponents of bossa nova at the time and a great reference for all musicians who wanted to follow in his footsteps.

Paula at ONE-2-ONE BAR — Paula Maya performing at ONE-2-ONE BAR in Austin, Texas

Music theory and the Brazilian Conservatory of Music

Paula comments that, before entering the Brazilian Conservatory of Music, she had an excellent teacher who was a concert pianist of name Luis Magalhães, who taught her the best piano techniques that she uses today in her performances, meaning that she was admitted to the hous of studies with a solid foundation of knowledge that helped her a lot.

In addition to that, music theory has been very useful for Paula at the time of teaching her classes, since she is a music teacher and thinks that all this knowledge is fundamental for an artist’s education, since music is very logical and occasionally you must look for quick answers to certain situations that certainly require studying and academic training.

She also told us that she usually uses music theory when composing because of the theoretical part, but not always.

Paula as a bandleader, pianist, keyboardist and singer

When we asked Paula how she has developed and performed in all these areas of music, she laughs and says that this is just the beginning, as she is also in charge of producing, composing, recording her albums, running the business part, making booking arrangements, among other things. ”That’s the life of a musician nowadays, especially when you don’t have a machinery behind you to back you up” Paula said on this topic.

This means that, apart from all the musical knowledge Paula has, she also takes care of all the details regarding her work, but they do not have to do with her profession directly. She does not have a large team of assistants to back her up, so she manages everything related to her career herself.

Since there are so many things she should do, she has a calendar in which she arranges the day and time to do every activity and always follows it to the letter. The artist says that the hardest thing about this is finding the time to be inspired and compose, since so many occupations, sometimes, do not let her clear her mind. However, she has learned to take full advantage of those few spaces.

Paula playing the keyboard — Paula Maya playing the keyboard at Barton Creek Farmers Market in Austin, Texas

Paula’s role as a Grammy Award voting member

For some time, Paula was a Grammy Awards voting member in its version in English and Spanish, so we could not very well not ask her about this important issue.

She told us that, although it is true that she is no longer part of the committee responsible for voting, social networks and these new forms of communication have made things much easier, since judges and committee members have groups on Facebook, WhatsApp and other platforms where they can conduct the necessary discussions.

In her particular case, what she considered when the time comes to vote for a nominee was talent and how much she liked a type of performance, but all member had their own particular approach to choosing a specific artist.

Something that Paula definitely did not like was that the majority of votes to an artist did not necessarily reward talent, but rather the popularity of the moment and promotion. She thinks this is not entirely fair, since talent, music skills and preparation do not always go hand in hand with popularity, but she is also aware that the ”game” is as well and she had to adapt to it.

Paula Maya & Bosa Nova Plus

Paula says laughing that everybody in Seattle expected her to play bossa nova because she was Brazilian, but she refused to do so. Eventually, she ended up doing exactly what the public expected and started playing bossa nova when she moved to Austin, Texas.

The fact that this Texan city has so many residents and musicians from Brazilian descent living in Austin has been an advantage for this genre to continue to become more popular and this niche to develop more and more. This led her to meet the musicians who have accompanied her in the band, who also came from playing bossa nova and other genres during their respective careers.

Antonio Laya a traditional artist

Latinoamerica / Mexico / Cancun

Antonio Laya “He tells us a little about his new single Abre que voy”

Today we are pleased to learn a little about the life of Antonio Jose Laya Gonzalez (Antonio Laya), a Venezuelan who with his voice and his particular way of dancing has managed to climb and carve his way to success, this Taurean with a great career as a singer of good salsa and especially son, he presents us his new single, abre que voy, a success that has gradually positioned itself on the best musical platforms from his current hometown, the beautiful city of Mexico.

Good afternoon friend Antonio, thank you in advance for the time you give us to learn a little about your life and give our great readers a little about your son, but in letters, we know from your artistic review that you come from a cultural world. the dance? Why the singing?

I come from a family of musicians, teachers and athletes, in 1995/96 I started in the popular culture workshops of the “Fundación Bigott” (cultural house of great social impact in Venezuela) in the Afro-Venezuelan percussion workshops with Professor Jesús Raúl Paiva, where he gave me the opportunity to enter this world of culture…

Years later this would bear fruit, when I joined the Vasallos del Sol group, a representative entity of Venezuelan folklore, on one of their tours in Europe “Germany” to be exact, one of its dancers stayed, leaving an open vacancy, it was then that I received the invitation to audition, at a festival of San Juan of the foundation, where I was able to win a spot. From then on I became a vassal of the sun.

All this experience in the middle of the show made me lean towards dance, where I got to venture as direct from my own dance school destined to spread the Cuban casino. With Vasallos del Sol I had the opportunity to travel the world, Colombia, Cuba, Ecuador, Spain, Mexico, Korea, Japan, the United States,

How many years has it been since the idea of entering the cultural world of your country?

22 years since I formally started at the Bigott Foundation.

How did the idea of giving life to singing come about?

On the tour of the United States, I began to sing with the vassals accompanied by the guitar of Luis Gonzalez, assuring me later that it was there that he heard me and knew that I could sing, quickly and a few months later he called me and invited me to participate in a project that neither It didn’t even have a name, which would quickly begin to take shape and to date is known as the seventh bohemian.

I began to sing very badly, I lost my voice because I didn’t know how to use the phonator, I began to take classes with several teachers, the first of them Ronald Gonzalez, fundamental pillar to start singing, placing and improving my vocal technique, successively Fabby Olano, Gladys Salazar, Maigualida Ocaña, Dayan Montiel, Marcial, Gustavo Gerardo. We recorded 3 albums on national tours, the second of which is entitled “She takes me” a song that I believe made the Seventh Bohemia popular. Singing was not in the plans but it ended up being one of my great passions.

A song that marks you?

She sings: The earrings that the moon lacks, I have them saved to make you a necklace I found them this morning in the mist when I was walking next to the immense sea. Since I was a child I woke up very early listening to music by La Sonora Matancera, Felipe Pírela, Damiron and Danzón de Acerina, it fascinated me.

Let’s talk about the seventh bohemia. How do you join this septet?

I am a founder, just in the second rehearsal when only Luis Freites, Cesar “Chagu” Bolívar and Luis Gonzalez were there I was summoned along with Krlos Gonzalez to be part of the group, from then on I started singing “Bilongo” to be exact, hahaha I’m so in love with the black tomasa……….., El Jamaiquino, Me que, among others.

What is the greatest thing you have experienced so far with music? -You could perhaps refer to a concert or moment to share with an artist-

I think the greatest thing I have experienced in music is having shared the stage with great figures both Venezuelan and foreign, Francisco Pacheco, Canelita Medina, Trina Medina, among, Jose Alberto “el canario”, Cheo Feliciano, Alexander Abreu and his Habana de First, Manolito Simonet and his Trabuco, Tiburón Morales, El Septeto Santiaguero, among others. On the other hand, being at the 2014 and 2015 Pepsi Music Awards, the biggest thing, achieving 4 nominations for the 2015 Latin Grammys, a great privilege.

What has given you and what has taken away the artistic life you lead?

It has given me the satisfaction of feeling and receiving the applause of an audience, feeling the magic of a stage, dancing on the most important stages of Venezuela and the countries I visit, I don’t know if there is another artist who performed in the same weekend in two different facets and groups in the most important venue in Venezuela

The Teresa Carreño Theater where on Saturday I danced in my last Vasallos de Venezuela concert in the concert “Guiados por la Luz” occasion to baptize the latest production, with guests from the cultural movement and the next day singing with La Séptima Bohemia alternating with Francisco Pacheco, El Septeto Santiaguero, Jose Alberto “El Canario” Canelita Medina and El Tiburón Morales and as special guests all the best dance academies in Caracas.

Antonio let’s laugh a little. Tell us about the funniest thing that has happened to you at a concert and the most painful.

WUUAOOO, too many, Well, a concert with Los Vasallos where I went out to dance and my pants began to drop, at a concert at the Yerba Buena Garden Festival 2008 in San Francisco we got the foot burn of the century since the stage was al pure sun and linoleum floor and at the baptism of the album “She takes me” in the main hall of the Central University of Venezuela after the great presentation of the renowned Ramón Castro We went on stage and I couldn’t see anything through my glasses hahaha and I I put in the place of my partner Miguel Guanchez colliding spectacularly ahaha to start singing. What a laugh.

We know of the great success that you have had in Venezuela with the successes that you have sung and have marked the public, they have gone from a sound to a necessity for the dancer. What do you consider this great impact?

Definitely because I come from the world of dance, I’m a dancer and a dancer and I understood perfectly that I needed the same audience that the casineros came from, those of us who at some point went to the Goiticoa school or the Monagas house. By the way, as a curious fact, I was the one who organized one of the first casino parties in a place called Beisboland, a party where I dare say it was the second presentation of one of the most important dance groups in the Venezuelan casino Son Rumbero, where they danced “Cuentas Verdes y Amarillas de Adalberto Álvarez.

How has your foray into Latin music in Mexico been?

Since my arrival in Mexico I have participated in several musical projects, Los Panas.com, La Formula Perfecta, Swing Latino to mention a few, it has not been easy since musically Cancun has a particularity and that is that the music that is danced is still that of the 80s when they talk about salsa, of course with its exceptions, but it has cost me to adapt but in the end it is what is consumed here. Here the forte is the hotel industry, so the Latin genres that marked an era are what is worked on, that’s why as a salsero it has been difficult for me to adapt, although I have worked anyway.

The Salsa or the Son? Which one do you lean towards?

Definitely La Salsa, I grew up in the middle of the Salsa de La Sonora Ponceña, Willie Rosario and the great Ray Barretto to name a few. Son also became my passion but I have to be realistic! came into my life thanks to the Seventh.

Open, I’m coming. Tell us a little about this great topic?

When I got on the plane to leave my country, in addition to nostalgia, I only had one thought, to make my album as a soloist first, I knocked on many doors, I looked for a lot of help, until I finally reached what today is called “Abre que I’m going” in that search the day came when I remembered that I had a buddy who was Omo Aña (Drummer) Maurice Melo and that after conversations, long conversations we would take a first step, start aggravating a theme, my first promotional single.

What surprise do we have to see from Antonio Laya during this 2019?

With God’s favor, to continue recording my album, including my first music video, if money allows me, hahaha For this 2019 I’m going to release my second single, it’s called… (Thinks) Not yet, let’s leave it as a surprise , do a launch concert and seek my respective nomination for the 2019 Pepsi Music Awards and the 2019 Latin Grammys.

Where can our followers find you?

My social networks Facebook and Instagram through @ToñitoLaya, on twitter as @Negrolaya and through my YouTube channel, Toñito Laya