Search Results for: New York

Joe Conzo, Jr. Born and raised in the Bronx, New York

Born and raised in the Bronx, Joe Conzo Jr. develop his passion for photography when he was young while attending the Agnes Russell School on the campus of Columbia University. He continued his formal art education at the School of Visual Arts (New York City).

During his early years, “Joey” witnessed volatile community activism in the South Bronx and the world of Puerto Rican avant-garde arts and music scene in New York. Any day, he could be found nipping at his grandmother’s heels, the late Dr. Evelina Lopez Antonetty (a dynamic leader and passionate activist), who was committed to a defiant act of civil disobedience in favour of the educational rights minorities in the South Bronx.

Other days, he could have been in constant company with his father, Joe Conzo Sr. (confidant and biographer of the late legendary bandleader and musician Tito Puente for a long time), and behind the scenes with the Latin music giants like Machito, Charlie Palmieri, Johnny Pacheco, and Ray Barretto.

These two lived realities will have a profound effect on the way Joey saw his surroundings through the lens of a camera.

He continued his formal art education at the School of Visual Arts (New York City). — Born and raised in the Bronx, Joe Conzo Jr

Coming of age as a young person and budding photographer in the mid-1970s turned out to be a baptism of fire in an unprecedented chapter of the urban decadence in New York. Joey belonged to a generation that had refused to be erased by corrupt politicians and a derogatory education system. His talent had found its place in collective acts of rebellion that reinvented the same world that had them dead. This socio-cultural movement would end up being recognized in the U.S. history books as Hip Hop.

The art, music, dance and aesthetics of his time resulted in a consciousness that challenged the authority and inspired personal battles with silence and hopelessness. There, at its earliest stage, Joey, aka “Joey Kane,” was passionately embracing his role as official photographer in a drama that was taking place. However, every revolution has its casualties and very few get away with it.

After a tumultuous period of substance abuse and homelessness, Joe Conzo Jr. wanted a positive change in his life. He started seeking change step by step With his archive of photographic work preserved with love in boxes by his mother and the members of the legendary Cold Crush Brothers group. His personal reinvention led him into the medical professions, where he eventually received the totile of Nurse. Then later, he joined the New York Fire Department as an emergency medical technician. It was his role as an EMT that led him to the World Trade Center on the morning of September 11, 2001.

On any given day, you could find yourself on the heels of your grandmother, the late Dr. Evelin López Antonetty (a dynamic leader and passionate activist) — Joe Conzo, Jr.

This near-fatal experience of Joe Conzo Jr. during the worst terrorist attacks on U.S. soil reinforced his decision to keep control of his life. Among his life choices, he resumed his stalling relationship with a camera, and found his passion for life from behind the lens again. A few years later, he met American photographer and videographer Henry Chalfant, who was working on the documentary “From Mambo to Hip Hop: A South Bronx Tale”. Chalfant asked Joey for permission to include some of his Cold Crush Brothers images in the film. This collaboration led to a friendship between the two of them that continues today. The documentary received the 2006 ALMA Award in the category of Best Television Documentary.

Source: https://www.amny.com/

Joe Conzo: ‘Born in the Bronx’.

Without the artists able to participate in traditional exhibitions this year, what does BEYOND THE STREETS provide to the art world?

With the disappearance of the traditional rule this year, BTS has been able to think outside the “box” and continue to provide a platform for artists like me to continue to promote and share their work with the public. After the hard blow suffered by the artthis year, BTS continues with very few limits to provide a platform for artists to continue being artists and sharing their work with the world.

What is your contribution to the show?

My contribution to the show is the publication of an expanded version of my book “Born In The Bronx” published the first time in 2007. BTS has become possible for the world to have another chance to own this classic book with 1XRUN, Rock The Bells and Boo-Hooray Gallery.

How have New York artists responded to the world this year?

New York artists are reistant and always look for ways to share their art and support each other.

As a photographer, it is about respecting the art form, their elders and supporting the growing generation. BTS has been that and continues to be that platform for artists all over the world.

As a photographer, it's about respecting the art form and its elders and supporting the younger generation. — Joe Conzo: ‘Born in the Bronx’

Home

The Latest on New York’s situation

There’s a lot going on in New York in relation to the musical world, specifically the world of salsa. The pandemic caused by COVID-19 has impacted particularly on our city, but fortunately, we are gradually returning to the normality that we desire so much.

A few weeks ago, Governor Andrew Cuomo announced the opening of bars and restaurants at 35% of capacity to avoid contagions as much as possible. Then, another 35% would be announced depending on how things progress in the localities. Similarly, there have been plenty of owners of all kinds of music venues, restaurants and bars that declared themself ready to serve 35% of their usual clientele without risk to any of those involved.

It was also known that theaters will begin opening their doors from 5 March and musical groups can already begin to make their performances the length and breadth of the city, but the lifting of restrictions will continue depending on the evolution of the pandemic in each locality.

In addition to the reopening of stablishments, we cannot fail to mention certain events that have occurred in New York City in the previous days.

Donation of Cocco Peña’s tuxedo to the Spanish Harlem Salsa Gallery Museum

Cocco Peña donates his iconic tuxedo to the Spanish Harlem Salsa Gallery Museum. For all of you who don’t know him, Peña is a well-regarded figure in the music world and has worked as a musical director, producer, composer and arranger. This important musician has worked with artists such as Olga Tañon, Gilberto Santa Rosa, Chayanne, Ricky Martin, Luis Fonsi, among others. Despite the differences in style between all the artists, Peña always knows what they need to achieve stunning results.

Johnny Rivero and the cover of his new album — Johnny Rivero – Golpe Duro

His work has earned him a colossal acknowlodgement at national and international level and has made him a very important figure to the music industry inside and outside New York. That is why the donation of such an iconic garment has made those charged with the museum very happy, which is now ready to resume its activities little by little. They are only waiting for government instructions to do so. The establishment will reopen for free and is waiting for its visitors.

The newest release from Johnny Rivero

In other news, the famous percussionist Johnny Rivero and his group El Cartel de Nueva York released their third album entitled Golpe Duro, in which they are accompanied by vocalist Anthony Colmenares.

The first song of the album entitled Quien te ha dicho, which was released in digital format on October 9 last year, benefits from the talent of violinists Raúl Roa and Laura Pérez. Likewise, the song includes a conga solo featuring Johnny himself, which provides a very interesting contrast of rhythms and sounds.

The music video for this same song was released in November and here you can see the musicians involved playing this incredible song thanks to the technology that has made it possible to create a lot of projects without the artists having to share the same physical space.

And just as we talk about themusicians who are doing their best to get ahear despite the current health crisis, we cannot fail to remember those who are no longer with us. Of course, we are talking about the great Johnny Pacheco, who left us on February 15 this year.

Remembering the Great Maestro

In The Johnny Cruz Show, we remember the life and work of one of the most transcendental figures of the salsa world, Johnny Pacheco, who passed away two weeks ago.

In memory of Johnny Pacheco — The Jhonny Cruz Show

During the program, we remembered the most important achievements of the acclaimed musician and details about his private and professional life. Undoubtedly, this glory of Latin music leaves an awful hole both in the music industry and in the hearts of his fans.

Home

Luis Perdomo one of the most avid pianists of the Jazz in New York

Luis is one of the most active jazz pianists in New York.

Originally from Venezuela, he began playing piano at the age of 10, and by the age of 12 was playing professionally on radio and television, as well as in concerts and clubs. Luis later moved to the United States.

To attend the Manhattan School of Music on scholarship, he graduated in 1997 and went on to earn a master’s degree at Queens College, where he was a student of the great pianist Sir Roland Hanna.

Shortly after moving to New York, he quickly established himself as an in-demand pianist amassing an impressive resume.

Some of the artists Luis has recorded and/or performed include Ravi Coltrane, David Sanchez, Tom Harrell, John Patitucci, Ray Barretto, Brian Lynch, Miguel Zenon, Dave Douglas, David Weiss and The Cookers, David Gilmore, Ralph Irizarry and Timbalaye, Henry Threadgill and Steve Turre, among others; a list that is as remarkable for its high level as it is for its diversity.

To attend the Manhattan School of Music on scholarship, he graduated in 1997 and went on to earn a master's degree at Queens College. — Luis Perdomo One of the most avid pianists of the Jazz in New York

Luis is also recognized as a member of several bands, especially the groups led by Ravi Coltrane, with whom he spent 10 years and Miguel Zenon, with whom he has had a collaboration that is currently in its 18th year.

Luis has also made a mark as a performer. Composer and arranger on recordings by Ray Barretto, Ignacio Berroa, John Benitez and Ralph Irizarry. He has also been commissioned as a composer by the Jazz Gallery, The Afro Bop Alliance and Arturo O’Farrill’s Afro Latin Jazz Orchestra.

He can be heard most recently on Ravi Coltrane’s Grammy nominated “Spirit Fiction” and Miguel Zenón’s “Típico”. In 2002 he won the 2nd Grand Prize at the “3rd Martial Solal Jazz Piano Competition” in Paris, among a group of 66 international pianists.

He can be heard more recently in Ravi Coltrane’s Grammy nominated “Spirit Fiction” and Miguel Zenón’s “Tipico”. In 2002 he won the 2nd Grand Prize at the “3rd Martial Solal Jazz Piano Competition” in Paris, among a group of 66 international pianists.

As a sideman, Luis has performed at most of the major music festivals and venues in over 50 countries, and as a leader, he has toured Europe, Japan, South America and the United States.

Luis has also been very active around the world in recent years as a teacher, soloist and as leader of his own trio: The Controlling Ear Unit and various other projects, and has released nine highly praised recordings as a leader: “…Focus Point “.

Luis has performed at most major music festivals and venues in more than 50 countries. — Luis Perdomo has also participated in more than 200 recordings as a sideman.

Focus Point “. (2005),” Awareness ” (2006), and the highly acclaimed ” Universal Mind ” with Drew Gress and Jack Dejohnette (2012) for Ravi Coltrane’s RKM Music label. ” Pathways ” in 2008, the ” Childhood ” project in 2012 and ” Links ” in 2013 were recorded for Criss Cross Jazz.

His ” Twenty – Two ” project, with ” Controlling Ear Unit “, was released in 2015 on the Hot Tone Music label.

This high octane CD unites Luis with bassist / vocalist Mimi Jones and drummer Rudy Royston. The two most recent CD’s:” Montage “; Luis’ first piano outing and” Spirits and Warriors “; a quintet release for the Criss Cross Jazz label featuring drumming legend Billy Hart, was released in May 2016.

Luis Perdomo has also participated in over 200 recordings as a sideman.

As an educator, Luis has taught master classes at conservatories in Amsterdam and Paris, Princeton University, Hochschule Fur Musik und Theatre (Munich, Germany), Berklee (Valencia, Spain), IUDEM (Caracas, Venezuela), Esmuva (Madrid, Spain) ; and the School of Jazz in Berkeley, California, among others.

He has taught summer jazz camps, including “Jazz in July” at the University of Massachusetts, Langnau Jazz Nights in Switzerland; The Banff International Workshop and the University of Manitoba in Canada, Badajoz Jazz Worshop in Spain; Universidad EAFIT in Medellin; Tonica Jazz Festival in Guadalajara, Mexico and Guimaraes Jazz Workshops in Portugal, among others.

In 2016, Mr. Perdomo served as artistic director of the Langnau Jazz Workshops in Switzerland. Luis has also taught at the New School for Social Research, and currently serves as an adjunct professor of piano at Queens College in New York City.

For more information, visit www.luisperdomojazz.com

Home

Orlando José Castillo: The Venezuelan sonero graduated in New York

Orlando José Castillo “Siempre Pa’lante”

He (Orlando José Castillo) is catalogued as one of the most important soneros that Venezuela has given to the world and considered a living legend of Afro-Caribbean music for his extensive, successful and extraordinary career during many years; for “International Salsa Magazine”, it is a great honor to have as a special guest on this occasion Orlando José Castillo “Watussi”, born in Marín, Yaracuy state, on March 23, 1949, who, since he was a child, moved with his parents to live in the parish of La Pastora in the city of Caracas.

Welcome Master Watussi and we hope that all salsa lovers through International Salsa Magazine, www.salsamundi.com, will know part of his life.

Thanks to all the staff for giving me the opportunity to read your magazine, which is already observed in Latin America, USA and Europe.

Orlando José Castillo "Watussi" The Venezuelan Sonero graduated in New York — Orlando José Castillo “Watussi”

And well, I am currently living in the city of Milan, Italy and let me tell you that I have beautiful and unforgettable memories of Barquisimeto, so for me it is a pleasure and an honor at the same time, to be sharing with all those people and my country.

To begin with, Maestro Watussi, which were the first groups and orchestras you were part of? Let me tell you that I started with Los Satélites, Federico y su Combo Latino, Porfi Jiménez, Príncipe y su Sexteto and that was super important, since they were the Venezuelan orchestras with which I began to form my career, especially with Los Satélites, Porfi, Federico; I sincerely owe the present of my life to all of them and that is why I do not want to leave them out of the picture.

"Watussi" The Venezuelan Sonero graduated in New York — Orlando José Castillo “Watussi”

Very good teacher, we would like to talk about your career in Puerto Rico and in the United States, with the various groups with which you were part.

Well, I tell you that I left Venezuela in 1979 definitely because I traveled for the first time in 1971, musically speaking, and it was my first international tour to the island of Santo Domingo with Los Satélites and then we returned in 72 and in 1974 we were the first Venezuelan orchestra to set foot on American soil in New York City.

NY being on the most important stage in the world at that time as it was Madison Square Garden and the importance of imposing a hit of musical salsa in the Big Apple, with a song I recorded called “Traicionera”, by the master Carlos Guerra and recorded with “Los Satélites”, after that experience I was founder of the “Renovación”, from there I went to be part of “Federico y su Combo Latino”; Then I worked with Rafael Cortijo and his Combo in Puerto Rico in 1977.

Later, in 1979, I went to the island of Borinquén, Cortijo was already traveling to New York and because I could not accompany him, I was lucky enough to be asked by the maestro Bobby Valentín to be part of his band. I stayed with him for three months and at one point I went to New York, The strike of Puerto Rican musicians, as many Dominican musicians were entering the island, led to Bobby being criticized for having a Venezuelan singer instead of a Puerto Rican one.

Later, in New York, I joined Cortijo and Kako Bastar again, who was another teacher in my career and with him I learned to know that great city and at that time almost all the singers of the orquestas bravas, were beginning to do their own work as soloists and I began to work with Joe Cuba and his Sextet, Eddie Palmieri, Larry Harlow, La Típica 73, until I arrived at the “Conjunto Libre”, I was there for about a year and a half, I recorded with them “El changó de María”.

After I had signed with the Fania label, which was a mistake I made, because Cortijo and Kako were telling me not to do it, since I had Fania in my brain, I rushed and was with them for a year practically inactive in the discography and that cost me not to have recorded the last album with Rafael Cortijo and others.

I recorded with Fania “Mi rumba y yo” and told them to leave me alone, they let me go and I joined the orchestra of “Bobby Rodríguez y su Compañía” for three years, I recorded a very good album, including the songs “María Cristina”, “El Pintor”, “Homenaje a Cortijo”.

In fact Carlos, then I continued with Palmieri in 1987, when I had already recorded the album “Las Calaveras” with José Mangual Jr. and there I began my career as a soloist.

Later on I set up my orchestra in New York, but unfortunately work began to decline due to the closure of venues such as El Corso, Casablanca, Copacabana, El Palladium and that brought as a consequence much less work, but thank God, in 1988 I had the opportunity to go to Paris, invited by my compadre Alfredo Cutuflá, in the place of Cheo Feliciano, to do the dance of December 31st at the New Morning.

Excellent, master Watussi, and it must have been a great commitment to replace Cheo at that time, tell us about this experience. Yes, I was fortunate to take his place because he did not travel at that time without his orchestra and Alfredito Cutuflá told me to get Cheo, I had his telephone number, I gave it to him and he told me that if Cheo did not go, I would go, and well it was a tremendous success with Cutuflá and that opened the doors for me in Europe and specifically in Italy, where my friend Carlos Ugueto was based, who brought salsa to that country.

Orlando José Castillo "Watussi" — Orlando José Castillo “Watussi”

Ugueto played the first album of this genre on his radio program, in his club and after he found out that I was in France, he sent for me and facilitated a tour in Milan in 1990, since in 1989 I was in Panama, singing to my compadre’s daughter Roberto “Mano ‘e Piedra” Durán, his 15 year old party, together with Camilo Azuquita, exactly on December 16, 1989,

but on December 19 the invasion of Panama began and I had to stay there until January 5 and well Carlos, I go to Europe and start my tour in Holland, then London, where I did a show with the master Tito Puente, on December 30, 1990, there I was 2 months in the old continent; I returned to New York, where I was residing, and in 1991 I returned to Europe and that’s when I stayed here for good with my family in Milan.

Orlando José Castillo, when you come to Venezuela, we imagine you will feel very well because you are visiting your homeland?

Of course I do, professor, when I go to my country I recharge my batteries, because there is no place like Venezuela, no matter what happens and I tell you honestly, I hope one day to be able to be in Barquisimeto with you, especially to personally show my appreciation for this gesture of having given my name to that “Peña Salsera Orlando Watussi”, in the middle of 2019, being the first time in Venezuela, to give me an honor of that size; especially my thanks to Dany Castillo and my family there, precursors of that idea, and to all the musicians of the musical capital to whom I send a cordial greeting.

Master Watussi, I am remembering that you were integrating the “Clan of Salsa” here in our city, do you remember that too?

Obviously, my friend Carlos, I was there with one of the bravest singers that Venezuela has given, my little brother Willy Rodriguez, who unfortunately is no longer with us.

Willy “El Guaro”, took care of me in his house for a few days, until I got my house in Barquisimeto; I am going to take advantage of this interview professor, to thank the family of Aldemar Barrera, the family of Honorio, tremendous bass player, Coromoto, who was the engine of that movement; greetings equally to Egidio and to all those panas.

Carlos, I want to greet especially the people of the Orquesta Malecón, I hope that one day we can meet on a stage and make a little effort, or perhaps in the Peña itself.

Orlando José Castillo, what can you tell us about Maestro Baquedano? Santiago Baquedano is one of the best musicians Venezuela has ever given and with him I worked on Margarita Island for a few months and from there I went to “La Salsa Mayor” and then I went to Puerto Rico, but I feel proud to have shared with so many valuable people from my country in my 50 year artistic career.

And let me tell you Carlos, just to finish, I reiterate my congratulations and good wishes for you to continue always with the work you do with this salsa column and your radio program, which aims to support and encourage musical talent in salsa.

Thank you Carlos and God bless you, take care all of you in my country and don’t leave the house! Cool…!.

Home

Virgilio Martí was an excellent rumbero and composer of the classic “Cuba Linda” where he was vocalist and percussionist in Grupo Folklorico Experimental Newyorkino

Virgilio Martí, born in 1919 in Havana, Cuba.

Fine Rumbero, Singer, Composer, Arranger, Percussionist, Actor and Orchestra Director well known since the late 40’s, especially as a guaguancó singer.

He began touring the world in 1949 and met his later wife in 1960 in Peru.

That same year, he settled in New York, participating in the local scene. He participated in the LP “Patato y Totico” in 1967, he also participated with his brother Eloy Martí in a Quintet accompanied by Gene Golden for the year 1979.

Israel López (Cachao), Arsenio Rodríguez, Héctor Cadavieco, Francisco Valdés, Papaíto, Tony Mayari and Mario Cadavieco also worked on that album.

He participated in the “Grupo Folklórico Experimental Newyorkino” where he was their vocalist and percussionist in 1975. During his stay with them, he composed the song “Cuba Linda”.

Another work of Martí of great remembrance is the album titled: “Saludando A Los Rumberos” published by the Caimán label in the early 80’s and in which the Cuban acts as vocalist and main star.

In it Martí is involved with talents such as: Tony Cofresí, Andy and Jerry González, Yomo Toro, Paquito Pastor, Ray Romero, Claudio Roditti and Ignacio Berroa, among others.

“Iya Modapue” is in itself a guaguancó with open rumba, being at the same time the favorite number of the ‘Grupo Folklórico’, and even the first groove to be recorded.

The levels of experimentation and the freedom to unload several rhythms in a single musical performance are the factors producing the attraction of the musicians for “Iya Modupue” (which means Thank You Mother).

The vocal part is in the hands of Virgilio Martí. The trumpet of “Chocolate” Armenteros, the trombones of José Rodríguez and Reinaldo Jorge, the flute of Gonzalo Fernández and the percussion of Frankie Rodríguez stand out.

“Se Me Olvidó” a bolero by Lolita de la Colina but adapted in guaguancó to the style of the Grupo Folklórico, which, by the way, turned out to be the piece of greatest radio diffusion in the tropical environment and therefore, the one that would open the doors to the group.

The song was interpreted by Virgilio Martí, who also plays the congas. In “Se Me Olvidó”, the violin of Cuban Alfredo de la Fe, the quinto of Julito Collazo, the street redoblante of Jerry González and a Mexican marimba played by Andy González in counterpoint to the notes of the double bass, also played by Andy, stand out. Here it is worth mentioning that Alfredo de la Fe is a virtuoso violinist and among his many performances, I remember his work with Eddie Palmieri, Larry Harlow (the wonderful Jew), the Fania All-Stars and the avant-garde Típica 73.

In the early 80’s he formed a band with brothers Andy and Jerry González, and percussionist Ignacio Berroa.

It is worth mentioning Virgilio Martí’s 1985 performance in the film by Cuban filmmaker León Ichaso entitled “Crossover Dreams” (Sueños truncados).

In it, the Havana native plays the role of “Cheo Babalú” and vocalizes the song “Llora Timbero”.

In that film production made in New York City, he also participates with actor Rubén Blades, who plays the role of “Rudy Veloz”, where they sing the song “Todos Vuelven”.

In 1990, he contributed to the “Soundtrack” of the movie Azucar Amarga.

He maintained a great skill in converting songs from other genres into rumba arrangements.

We can mention the adaptation of the theme of the Brazilian composer Jorge Ben, “Más Que Nada” in which he appears on the LP with Patato and Totico.

Martí died on October 17, 1995.

Virgilio Marti – Guaguanco (1979)

Tracks:

Amanecer (Armando Manzanero)
Todos vuelven (Rafael Otero)
A tus pies (D.R.) (Agustin Lara)
My childhood (Laureano Martinez)
Saluting the rumberos (Manolo Albo)
I’m going to divide it (R. Livi)
Acanapon (D.R.)
The little handkerchief (D.R.)
Que susto (Virgilio Marti)
Odiame (Rafael Otero)

Virgilio Marti - Guaguanco (1979) — Virgilio Marti – Guaguanco (1979)

Information realized (June 1, 2024)

Also Read: Carlos “Nene” Quintero comes from a family of musical prodigies

Contributor: Dj. Augusto Felibertt (International Salsa Magazine)