Search Results for: Orchestra

Celesté Polanco. The Salsera Fair

North America/ USA / Pennsylvania

Celesté Polanco “The Salsera Fair” is a young singer in constant ascent in the National Salsa music movement nowadays. This star from Philadelphia with Dominican and Puerto Rican roots has managed to delve into the acceptation of the tropical music market with her two hits: “Traicionada” and “Mi Salsa te llama” in collaboration with great producers and composers of Latin Music.

This Salsera and humble person began her professional career thanks to the support of Héctor Rosado who believed in her talent and gave her the opportunity to be the lead vocalist of his Hache orchestra and at the same time to start working in the musical field, sharing stage with renowned Salsa figures, such as: Frankie Vázquez, Kevin Ceballo, Frankie Negrón, VITI Ruiz, Herman Olivera, Ricky Luis, and Chino Núñez y su Orchestra.

In 2015 Polanco decided to become a soloist with the 2x Grammy Award and 7x Billboard Award winner, Pablo Chino Núñez, recording her first two singles: “Traicionada”, released in 2015 under the production and arrangement of Pablo Chino Núñez, and composition of her authorship together to Linen Church and a year later her second promotional single “Mi Salsa te llama” whose composition, arrangement and production was in charge of Pablo Chino Núñez and Celesté Polanco.

“La Fiera”, nicknamed by her producer Chino Núñez to see her deliver her emotions during the recording of Traicionada, connects her art with her experiences. “The best way to sing is from my experiences. It’s my art, you know, someone will connect with it because they have encountered it too. I love happy music as well that’s where “Mi Salsa Te Llama” comes in”, said Celesté.

“… I love Salsa I feel that in the Salsa music industry there are not enough females emerging in the Salsa Industry.”

Celesté Polanco currently resides in Philadelphia and is recording her first album in which it will include her third promotional single: “El Tiempo Lo Dirá” which will be presented with an official video and will be available on all digital platforms soon.

This representative of the Salsa has performed at major festivals, such as: NAHREP (National Association of Hispanic Real Estate Professionals), LA LIVE (National Convention, 2016), MUSIKFEST in Bethlehem & LEVITT STAGE in PA and for this 2018 “La Fiera” will continue presenting his shows in Miami, Chicago, LA and also in the tri-state area.

Traicionada Cover - Celesté Polanco — Traicionada Cover – Celesté Polanco

“…The market of salsa, in general, it’s worldwide re-known. It doesn’t pertain to one ethnicity it has become multicultural… It’s a worldwide movement”.

“… My main focus is to reach as many people as I can through my voice and become a positive influence to the younger generation and all those who aspire to do great things but are scared to try”. Celesté Polanco

The Latin Music’s influences of Celeste “La Fiera” Polanco:

-Celia Cruz -Oscar D’ León -Yolanda Rivera -Cano Estremera -Orquesta Mulenze, etc…

For more information about Celesté Polanco, please like her on Facebook: https://www.facebook.com/celeste.polanco.7

El Tiempo Lo Dira Cover - Celesté Polanco — El Tiempo Lo Dira Cover – Celesté Polanco

Louie Ramírez. The Hidden Talent of Salsa Ahead of its time

North America / USA / New York

Louie Ramírez.

Music often requires characters who are always behind the scenes and support the work of singers and performers with their talent, who are ultimately the ones who “put on their face” and become popular. Sometimes, however, these anonymous characters rise to fame in order to perform their own work and even become more popular than any popular singer.

In the case of Pop, this character is called Quincy Jones, of whom it is enough to say that he has been an arranger for Frank Sinatra and a producer for Michael Jackson. A nobody”. In the case of Salsa, these characters have been symbolized by Jones’ emulator, a guy named Louie Ramírez who has done everything with everyone.

One afternoon in 1994, Ramírez was driving his car down the highway that would take him to Variety Studios in New York. It was going to be a quick session since he only needed one song to complete his 20th album as conductor. Perhaps that was why he was nervous and that filled him with anxiety. Minutes later he couldn’t resist the feeling and had to pull over to the side of the car. He had not finished doing it when a cardiac arrest ended his life.

Louie Ramirez was a genius. The classic man to whom everyone turns for advice and solutions to their problems. It didn’t matter if they were young or old musicians. The fact was, Louie had the answer, and visiting him was like rubbing Aladdin’s lamp. That was a characteristic that always accompanied him, from that first recording “Conozca a Louie Ramírez” in 1963.

He was 20 years old at the time and had already stood out for composing some pachangas and arranging for Pete and Tito Rodríguez’s orchestras. The commentator Dick Sugar then presented it like this: Ramírez breaks the image of the director of a group that uses the talent of other composers and becomes a follower of a rhythm. No, Louie Ramírez is a creator in his genre.

That talent did not go unnoticed by the new Czar of Latin music in New York, Jerry Masucci, who hired him as a star for Fania Records and at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramírez was soon involved in work and was only able to record two albums during the sixties, “Good news” and “Alí Babá”.

On that last album appeared the hit that allowed him to be a famous artist, El Títere, a true Salsa classic. The theme was sung by Rudy Calzado, the third of the soneros that Louie had used without finding the ideal. That was a burden that accompanied him as a director during the seventies, when he used singers of the stature of Pete Bonet, Tito Allen, Jimmy Sabater, “Azuquita” Rodríguez, Adalberto Santiago, and even Rubén Blades.

It was with Blades, precisely, that he made an anthological album, “Louie Ramírez and his friends”, in which the song Paula C was included, with an arrangement of those that deserve -hats off-. By then, Ramírez was considered in New York as the most progressive arranger that Salsa had, thanks to the brilliant work done for the Fania All Stars. An excellent job had been the instrumental arrangement of Juan Pachanga, to be sung by Blades, of Canta Canta for a performance by Cheo Feliciano, and of the entire album “Algo nuevo” that Tito Rodríguez sang with Louie’s orchestra.

But the high point of Ramírez’s career came in 1980 when Joni Figueras, representative of the K-Tel International label, hired him to arrange the ballads Todo se derrumbó and Estar Enamorado de Manuel Alejandro. The album, which included these and other tracks, was released two years later under the title “Hot Night” and was recorded by Louie’s own orchestra.

Louie Ramírez - Salsa Progresiva — Louie Ramírez – Salsa Progresiva

This is how the Salsa-ballad or Salsa-romántica was born in a job that Ramírez continued until his death, making attempts at Latin Jazz from time to time, which he loved. That is why he recorded an album in tribute to Cal Tjader, where Louie was director, producer, composer and arranger, in addition to playing the timpani and his favorite instrument: the vibraphone.

Louie Ramírez was a genius in arranging, in a career where those of Guantanamera and Isadora stand out for Celia Cruz, El Guiro de Macorina for Johnny Pacheco and El Caminante for Roberto Torres. Apart from this, there are his works for the Alegre and the Cesta All Stars. Regarding this profile of Ramírez, the critic Eleazar López defined it very well:

Louie Ramírez - salsero — Louie Ramírez – salsero

It is not easy to arrange for a dance band, especially when it comes to a group that cultivates the hot tropical genre. Many musicians feel influenced by Jazz and the result of their orchestrations leaves a void in the dancer. Others arrange simple, but so simple that they repeat and copy themselves, and the result is tiresome music, without any degree of creativity: music that says nothing, that leaves nothing. Louie Ramírez has found the perfect balance… that’s why he always stays current.

Andrea Brachfeld

North America / USA / New York

Andrea Brachfeld (Flutist), Graduated from the High School of Music and Art and Manhattan School of Music. During the last 20 years he has recorded more than a dozen CDs with many artists, including Africando, Noel Pointer, and Timbalaye. Her big break as the flutist for the popular Latin band Charanga 76 catapulted her into Salsa history and fame as the first female flutist to play this music in the United States.

While in high school he received the “Louis Armstrong Award for Outstanding Alumnus” for Jazz Interactions. Study with Hubert Laws, Jimmy Heath, and Mike Longo helped him develop his own style. Downbeat magazine referring to Andrea as “one of the best jazz flautists around”.

She has twice been the winner of the Latino Award in New York, as a flutist. He has performed with Dave Valentín, Néstor Torres, and Ray Barretto, among others. While in Venezuela, he had the honor of opening for Chick Corea and Paco de Lucía. She recently received the Chico O’Farrill Lifetime Achievement Award from Latin Jazz USA. Her first Latin jazz CD, “Remembered Dreams” combines Latin originals with contemporary jazz cuts. His second CD, “Back With Sweet Passion,” is a dynamic salsa recording featuring Grammy winner Oscar Hernández on piano, and Alfredo De La Fey on violin.

Her third CD “Beyond Standards” is a collaborative effort with Chembo Corniel, featuring jazz greats Hilton Ruiz on piano and Steve Turre on trombone.

She has appeared with the Winnepeg Jazz Orchestra as a soloist performing her own compositions as well as those of Mike Longo, Dizzy Gillespie’s longtime musical director. He is currently performing with his own group, including Phoenix Rising, with a new CD out, “Into The World: A Musical Offering” with guest artists Mike Longo, West Paul and Brian Lynch.

Red Profile Andrea Brachfeld

Eddie at 80: Eddie Palmieri and his Latin Jazz Septet

North America / USA / Miami

Eddie at 80: Eddie Palmieri and his Latin Jazz Septet. Sábado, 2 de junio de 20:00 a 22:30

Entradas: https://tickets.olympiatheater.org/eventperformances.asp?evt=186

NEA Jazz Master Eddie Palmieri is celebrating his 80th birthday this year with a gorgeous album Sabiduría, and a tour of select cities that brings him to the beautiful Olympia Theater in downtown Miami. Tix are available through the theater box office: http://olympiatheater.org/, $37, $47 and $57 + fees.

Born in Spanish Harlem to Puerto Rican parents and raised in the Bronx, Eddie Palmieri learned to play the piano at an early age, and at 13, he joined his uncle’s orchestra, playing timbales. He joined popular New York bands during the 1950s before forming his own band La Perfecta in 1960. Eddie Palmieri’s landmark 1970 release Harlem River Drive was a first to merge what were categorized as “Black” and “Latin” music into a free-form fusion of salsa, funk, soul and jazz. In 1975, he won the first-ever Grammy for Best Latin Recording for The Sun of Latin Music (he’s won ten Grammys altogether to date, including two with Tito Puente).

In addition to the Grammys, Eddie Palmieri has received numerous honors: Eubie Blake Award (1991); BBC (2002); Yale University’s Chubb Fellowship, usually reserved for international heads of state, but given to Palmieri in recognition of his work building communities through music (2002); Harlem Renaissance Award (2005); and more. In 2009, the Library of Congress added Palmieri’s composition Azucar Pa’ Ti to the National Recording Registry, which at the time only included 300 compositions documenting the history of all of recorded music history in the U.S.

In 2013, Eddie Palmieri was awarded the coveted Jazz Master award – the highest honor for a jazz artist – by the National Endowment of the Arts (NEA). That year he was also awarded a Lifetime Achievement Award by the Latin Academy of Recording Arts & Sciences. This June 2nd, MasterEddie Palmieri is celebrating his 80th birthday this year with a gorgeousalbum Sabiduría, and a tour of select cities that brings him to the beautiful Olympia Theater in downtown Miami. Tix are available through the theater box office: http://olympiatheater.org/

Welcome back to Miami, maestro!

Edgardo ‘‘El Bambino’’ and his extensive and interesting musical career

Edgardo ”El Bambino” Otero Lugo is the one to whom we want to dedicate some of the lines of this edition in International Salsa Magazine. The talented Puerto Rican vocalist has given us a few minutes of his time to talk exclusively about his beginnings, his career and other unpublished details that are not read in other media.

Edgardo’s childhood and music

As Edgardo’s childhood took place in his hometown of Vega Baja, Puerto Rico, the artist recalls that he would sit on the balcony of his house and play with buckets and sticks to pretend to play music. His mother, fed up with the noise he made, decided to enroll him in the school choir so that he could explore his curiosity about music in a more professional way. That was when he was in the fifth grade of the elementary school.

As the years went by, the boy’s love for music just kept growing, until he got his first big opportunity thanks to singer-songwriter Edwin Crespo, who had already written for famous groups such as La Sonora Ponceña at the time. Back then, Edgardo was only 14 or 15 years old, so he still needed a lot of guidance on these issues, so maestro Crespo was the ideal person for that.

It just so happenes that Pedro Crespo, Edwin’s father, was the founder of his own orchestra and grandfather of some of Edgardo’s cousins. Since they all lived nearby, Edwin heard him singing one day and liked his voice, so he offered to teach him how to sing professionally and invited him to join his Orquesta Ética, which is where it all began.

By being part of the Orquesta Ética, Edwin decided to spend two or three days a week explaining to Edgardo what to do and how to do it so that everything would go wonderfully for the young vocalist, and that is exactly what happened. So much so that Edgardo spent about three years singing for the group, in which he claims to have learned much of what he knows today.

Edgardo ‘’El Bambino’’ next to Frankie — Edgardo ”El Bambino” next to ”El Sonero del Barrio” Frankie Vazquez

The Rukanos

After having left Orquesta La Ética, Edgardo was also part of Orquesta Los Rukanos, which was much bigger, had more instruments and more musicians. Therefore, it represented a bigger and more complex challenge.

In 1981, he was invited to join the group by a Guyanese friend and colleague named Ferniand Pudia, who asked Edgardo to join him in a musical project he was working on, which he would name Los Rukanos, paying homage to the term used to refer to peasants and working class men in the South American country.

Alongside with this orchestra, of which Edgardo was also one of the founders, he managed to perform in completely new stages and to follow his path in the learning of this complex and rich world that is music.

Conjunto Quisqueya

During a concert in his hometown, the members of Conjunto Quisqueya heard Edgardo singing and liked his voice so much that they invited him to play with them in a project for Nelson García, who at that time was the second trumpet of the orchestra.

Having accepted the offer, the group recorded a whole LP called ”Nelson García y Merengue ’86”, which was a very nice experience for Edgardo since he had never had the opportunity to record in a studio before and finally he was able to do so. And it was not just any studio, but one of the most important in Puerto Rico, which was Tele-Sound Recording Studios.

”Playing with the members of Conjunto Quisqueya was a spectacular experience. Their musicians are wonderful human beings with whom I still have very strong friendship bonds” said Edgardo about his experience in the ensemble.

Edgardo ‘’El Bambino’’ in the army — Edgardo ”El Bambino” singing during his time in the army

Orquesta La Nueva Época de Ángel Rivera

There were some years that merengue was gaining a lot of popularity in Puerto Rico, so the artists and groups of the moment had to adapt to fulfill the musical taste of the audience. Such was the case of saxophonist Angel Rivera, also originally from Vega Baja, who created an orchestra and invited several musicians to play with him, including Edgardo.

The result was good acceptance from the public to the extent that the orchestra participated in competitions and won some awards thanks to the work done.

This was very useful for Edgardo’s career, since he succeeded in diversifying his rhythms and learning to play new things and genres, which made him acquire a lot of knowledge. Until such time as he played with Conjunto Quisqueya, he had only done salsa, so trying merengue was really enriching for the musician.

Service time in the army

Edgardo was in the Puerto Rico National Guard for about 24 years in total and he remembers a time when he was mobilized to the Iraq War in 2006, the year in which he met Edwin ”El Calvito” Reyes, who was part of the 3rd Infantry. El Calvito” had a group whose lead singer could not speak Spanish, so he learned the lyrics phonetically in order to perform them.

The chemistry between all the members was so great that they even played a few times at the U.S. base in Baghdad, where he stayed until 2008. It was then that he returned to Puerto Rico to adapt gradually to civilian life again, during which time he met Raphy Santana and joined his Tribute Orchestra, which made music to pay homage to maestro Héctor Lavoe.

Permanent move to the United States

In 2019, both Edgardo and his wife were retired from their jobs, so they thought it was a good time for a change of scenery, as they felt that nothing interesting was going on musically. This led them to move to the United States to settle permanently there, although he continued to travel to Puerto Rico to meet some commitments with La Corporación Latina, of which he was still part at that time.