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Search Results for: Oscar D' León

We continue working to enhance Salsa

This month I want to continue sharing good news for everyone in NY and in the Salsa world. On this occasion, Oscar Hernández and Spanish Harlem Orquesta join Spaha Salsa Gallery Museum. Oscar has donated an incredible piece that we will be exhibiting immediately.

Four times Grammy Award Winner, Oscar Hernández, has long been considered one of the most gifted and prominent pianist / arrangers on the contemporary Latin, Latin-jazz and salsa music scene. He has achieved legendary status for his prolific career spanning now over 40 years.

Hernández is the leader of the world renowned Spanish Harlem Orchestra. Won the Grammy for their second CD release, “Across 110th Street” and winning yet another Grammy with their 4th CD “Viva La Tradition” and won their 3rd Grammy with “Anniversary” in 2019. Oscar was the music producer as well as pianist / arranger on all CD’s.

Since the band’s inception in the year 2001, SHO has garnered numerous awards and world acclaim as one of the finest exponents of Salsa and Latin / Jazz music. Spanish Harlem Orchestra is generally considered one of the best Salsa & Latin Jazz Orchestras today and one of the finest music ensembles in the world.

The Bronx native has produced such artists as Ruben Blades, Paul Simon, Willie Colón “Carabali”, Daniel Ponce, Rafael Dejesus, Eddie Torres, Phil Hernandez, Steve Kroon, Juan Luis Guerra, etc.

In addition to being Rubén Blades pianist, arranger and musical director, Oscar Hernández has enjoyed a prolific musical career recording and performing with such world renown artists as Latin music king Tito Puente, Queen of Salsa Music Celia Cruz, Latin Pop Star Julio Iglesias, Juan Luis Guerra, Ray Barreto, Earl Klugh, Dave Valentin, Johnny Pacheco, Ismael Miranda, Pete “Conde” Rodríquez, Oscar De’ Leon, Luis “Perico” Ortiz, “Libre” “Grupo Folkorico Experimental “, Willie Colón, Kirsty MacColl, etc. Oscar’s musical exploits include working as Musical Director / Conductor, arranging and producing the music for “The Capeman,” pop-rock icon Paul Simon’s Broadway musical.

Oscar is also the music producer of “The Capeman” cast recording. Oscar was Musical Director / Arranger for the hit shows “Quén Mató a Hector Lavoe” and “La Lupe” at the 47th Street Theater. He was also, Music Supervisor / Arranger for the show “Four Guys named Jose & Una Mujer named María” Oscar also has released 2 CD’s as a solo artist, Oscar Hernández & Alma Libre, titled “The Art of Latin Jazz” and “Love The Moment ”on Origin Records. It is a true honor to have the donation of an incomparable musician like him in our museum. Thanks, Oscar!

Another of the great figures of the Spanish Salsa Harlem Orchestra is Luisito Quintero, the timbalero from Venezuela. Luisito Quintero was born in Caracas, Venezuela where he had his first contact with music. Cultural influences of Afro-Venezuelan rhythms were always present at home. His father, a highly respected percussionist, taught and encouraged Luisito to play the timpani in his teens.

Luisito Quintero
Luisito Quintero

Quintero continued to refine his playing level with the Venezuela Symphony Orchestra, where his technique for playing the timpani soon caught the attention of his colleagues. Subsequently, he joined the popular music groups Guaco and the Trabuco Venezolano and traveled with Oscar D ‘León with whom he achievedan important international projection. The live performances, recordings and projects in which he has participated are countless.

He has made his mark as a percussionist with figures such as Tito Puente, Eddie Palmieri, Marc Anthony, Gloria Estefan, Richard Bona, Jack Dejonette, Willie Colón, George Benson, Natalie Cole, Herbie Hancock, Nuyorican Soul, Masters at Work, and of course, The Spanish Harlem Orchestra. Luisito is part of the group Elements of life, with whom he has toured for the last years.

The band has shared stages with major artists in the market such as Robert Plant, Lauryn Hill and Alicia Keys, performing at festivals such as Montreux Jazz Festival in Switzerland, North Sea Jazz Festival in Holland, Roskilde in Denmark, Blue Note in Japan, Jazz Cafe in London, England and the legendary New Morning Cafe in Paris, France. Without a doubt, an impressive and worth mentioning career.

And if we are talking about incredible careers in this edition, I can’t stop talking about Adalberto Santiago and the new projects of the 60th anniversary with great artists of the genre. This his time I can tell you about Cuco Peña’s string arrangements, the participation of Nelson Jaimes and, of course, the help of my friend Freddy Miranda. At 83 years old, he is still in the rumba. There is less and less to show the world this historical piece for the world of salsa.

Johnny Cruz and Adalberto Santiago - Salsa
Johnny Cruz and Adalberto Santiago – Salsa

I also want to remember Raphy Leavitt, on the fifth anniversary of her death on August 5. In 1970 Leavitt organized an orchestra that should have a different sound and style. He wanted to select the repertoire of songs of the orchestra with a particular, positive, social and even philosophical message; and founded “La Selecta”. Since its inception, La Selecta has featured Coamo-born Sammy Marrero as one of its singers.

Marrero, who has always been strongly influenced by the music of the Puerto Rican jíbaro, had an opportunity to teach his dramatic singing style in his first hits as the almost hymn “Jíbaro Soy”, a very patriotic and unusual Puerto Rican song, “Payaso”, and “The Good Shepherd”. However, it is in the band’s signature song, “La Cuna Blanca,” that Marrero’s voice is for the most part associated.

Raphy Leavitt
Raphy Leavitt

In 1978, Leavitt discovered a young singer named Tony Vega, who became a legend among salsa singers on his own merit. Raphy Leavitt and La Selecta were responsible for the introduction of salsa in many countries. In the 1980s, Leavitt became an independent producer and produced two albums for Bobby Valentine.

In the 1990s, he established his record recording company, R.L. Records. The company’s first production was the album titled “Provocame,” which became a hit in Puerto Rico, the United States, and South America.

In 1978, Leavitt discovered a young singer named Tony Vega, who became a legend among salsa singers on his own merit. Raphy Leavitt and La Selecta were responsible for the introduction of salsa in many countries. Raphy passed away in Miami as a result of an operation of the hip prosthesis that had been installed due to an accident in 1972, and that he had become infected. Leavitt passed away in his sleep. Raphy will always be endorsers of the Salsa Museum with the clown suit of its 25th anniversary.

I also want to thank the constant and significant support for the Museum, from my friend Sully Díaz, who as endorser of the museum, is always working to promote and make our work reach more people. Sully was born in New York, the daughter of Sephardic parents from Puerto Rico. She began her career as a model, and at the age of 17 she began acting in Spanish soap operas, making herself a well-known figure on television in Puerto Rico.

In 1983 she became popular throughout Latin America with the role of Coralito, in the telenovela of the same name. From that moment on, Sully was known as “the queen of Puerto Rican soap operas.” In the early 1990s, Sully moved to Hollywood and appeared on various television shows as a guest star and worked on a few movies.

Johnny Cruz and Sully Diaz
Johnny Cruz and Sully Diaz

In the mid-1990s, Sully joined four other Latina women (Dyana Ortelli, Marilyn, Ludo Vika, and Lydia Nicole) in a comedy group called “The Hot & Spicey Mamitas”. They sold out at several Los Angeles comedy clubs. They recorded a CD live called simply The Hot & Spicey Mamitas.

In 2002 Sully appeared in the play La Lupe: My Life, My Destiny, in which she played the Cuban singer La Lupe. Shortly after the execution of this work, Sully made her own production of La Reina, La Lupe. This work toured all of Puerto Rico and was a great success in Florida. That same year, she starred in the Puerto Rican thriller “Cuéntame tu pena”, in which she plays Isadora, a radio host who receives a call from a woman who is killed while on the air.

In 2004 Sully toured with Gilberto Santa Rosa in a play called “The True Story of Pedro Navaja.” In 2009 Sully appeared in the movie Princess Protection Program as Reina Sofía, along with Selena Gómez and Demi Lovato.

Papo Rosario and Isidro Infante - Photo
Papo Rosario and Isidro Infante

Recently, Papo Rosario released his new single “Gracias” produced by arranger and musician Isidro Infante. Rosario appreciates being alive and being able to walk after being bedridden as a result of a car accident. Papo Rosario is a world-class artist who has put the name of Puerto Rico on high. Rosario, who retired in 2019 from the group considered the “University of Salsa”, El Gran combo de Puerto Rico, after having an accident and presenting health problems, affirms that he already feels ready to resume his musical career with the Launch of his first solo production by producer Isidro Infante. I wish you success in this new beginning.

The invitation to tune in to the new Fm / Internet radio station on Live365.com: Salsagallery continues. Great music, artist interviews and much more.

Oscar Hernandez
Oscar Hernandez

At the Spanish Harlem Salsa Gallery Museum we are happy to affirm that New York City is preparing to resume its activities little by little. We hope to have more news soon and that we can return to normal soon.

By Johnny Cruz, ISM Correspondent, New York, New York City

Bebo Valdés is considered one of the central figures of the golden age of Cuban music

On March 22, 2013 in Stockholm, Sweden, Dionisio Ramón Emilio Valdés Amaro, better known as Bebo Valdés, died.

He was an excellent musician of Cuban music and Afro-Cuban jazz, considered one of the central figures of the golden age of Cuban music.

In addition to being a pianist, his best known facet, he has been a composer, arranger and orchestra conductor.

He was born in Quivicán, Cuba, on October 9, 1918. He was the father of the Afro-Cuban jazz pianist Chucho Valdés (b. 1941). From 1931 to 1935 he studied piano in his hometown with Moraima González; in 1936 he moved with his family to Havana, where he studied music theory, harmony and composition with Oscar Bofartigue.

In 1938 he made his professional debut with Happy D’Ulacia’s orchestra. He played in Havana, since the 1940s, in the orchestras Ulacia, García Curbelo, Julio Cueva and Orquesta Tropicana, and recorded albums with groups dedicated to performing Afro-Cuban jazz.2

Known among his family and friends by the affectionate nickname of Caballón because of his considerable stature, he composed mambos, such as La rareza del siglo, which covers the genre recently introduced by Pérez Prado and which would change the course of Cuban music. From 1948 until 1957, he worked at the Tropicana cabaret as pianist and arranger for Rita Montaner.

The Sabor de Cuba orchestra, of Bebo Valdés, and that of Armando Romeu, made the show of this night club, in which Valdés stopped performing in 1957, when he was hired by Ernesto Roca, of the Peer International Music Publishers, to make arrangements for Xiomara Alfaro and Pío Leyva; at the same time, he joined Guillermo Álvarez Guedez, of the Panart and Rolando Laserie in Radio Progreso. With his orchestra Sabor de Cuba, he accompanied singers Reinaldo Henríquez, Orlando Guerra (Cascarita), Pío Leyva and Ada Rex; Beny Moré also sang with this group, and Chucho Valdés made his debut.

About the descarga or jam session, there are multiple versions, this is the one by Bebo Valdés which, due to the concreteness of data, dates and record labels that made the recordings, is the most objective: “One night in October 1952, I was resting in a cabaret in Havana with members of the Tropicana orchestra.

Bebo Valdés Fue un excelente músico de música cubana y jazz afrocubano, considerado como una de las figuras centrales de la época dorada de la música
Bebo Valdés Fue un excelente músico de música cubana y jazz afrocubano, considerado como una de las figuras centrales de la época dorada de la música

It is important to know that since 1948, Cuban, Mexican or even American musicians used to meet on Sunday afternoons at the Tropicana to play descarga, in the course of which we mixed jazz and Cuban rhythms.

Sometimes the descargas were held at four o’clock in the morning, at the end of the [Tropicana] show. The percussionist Guillermo Barreto was the one who animated them; we had received Roy Haynes, Kenny Drew, Sarah Vaughan, Richard Davis and many other musicians passing through; in fact, all the great names of jazz paraded through the Tropicana.

All of that could have been recorded, but no one was interested. So, that night Irving Price, the owner of a record store on Galiano Street, announces to me that producer Norman Granz is in town and that he can’t believe that Cuban musicians are capable of playing jazz.

Granz and Price ask me to go to the studio to record. It was September 16, 1952. So, I called some musicians, but I myself was late for the session, because in the morning I had another recording for RCA: I was going to accompany a singer! When I finally arrived at Panart’s studio, Granz had already left for the United States.

We called the orchestra The Andre’s All Star, after the name of Irving Price’s record store. We had decided to play classic jazz tunes, such as Distrust, Taboo, Sleep and Blues for Andre. At the end of the session, as there were still a few minutes available for the record, I started playing a riff, from which we improvised. We called that track “Con poco coco.”

The record was titled Cubano! and the participating musicians were all from the Tropicana cabaret: Gustavo Más, tenor saxophone; Alejandro Vivar (El Negro Vivar), trumpet; Kiki Hernández, double bass; Guillermo Barreto, timbal; Rolando Alfonso, tumbadora and Bebo Valdés, piano.

The works it contains are the same as those mentioned by Bebo Valdés, and the label, Mercury. In 1955, Bebo Valdés recorded, in the studios of Radio Progreso, Holiday Habana and She Adores the Latin Type, for the Decca label, which contained mambo, chachachá, bolero, jazz descarga, even jazz with bebop tendencies.

According to Luc Delannoy, in 1956 the Panart recorded Cuban Jam Session, with Julio Gutiérrez and Pedro Jústiz (Peruchín), as directors, and the musicians Alejandro Vivar (El Negro Vivar), Edilberto Escrich, Osvaldo Urrutia (Mosquifin), Emilio Peñalver, José Silva (CHombo), Juan Pablo Miranda, Salvador Vivar, Jesús Esquijarrosa (Chucho), Oscar Valdés, father, Marcelino Valdés, Walfredo de los Reyes and José Antonio Méndez. The participation of Israel López (Cachao) in a descarga did not occur until 1957, when the Panart recorded Descargas cubanas, with the participation of Cachao himself, Guillermo Barreto, Gustavo Tamayo, Rogelio Iglesias, Richard Egües, Andrés Hechavarría (El Niño Rivera), Rolito Pérez, Alfredo León, Arístides Soto (Tata Güines), Alejandro Vivar (El Negro Vivar), Generoso Jiménez, Orestes López (Macho), Emilio Peñalver and Virgilio Vixama. In other years, there were also recordings of downloads, and some unrecorded ones, such as those recalled by Leonardo Acosta at the Cuban Jazz Club, held between 1958 and 1960, with the participation of Pedro Jústiz (Peruchín), piano; Guillermo Barreto, drums and pailas, and Arístides Soto (Tata Güines), tumbadora (drums). This proves -or at least shows another side of the coin- that Bebo Valdés was one of the initiators of descarga in Cuba, a resource used by Cuban musicians in the most diverse instrumental formats, genres and styles of our popular music, as, for example, did the composers of the filin movement.

On June 8, 1952, with a band of twenty musicians, Bebo unveiled the batanga rhythm in the studios of RHC Cadena Azul; among the three singers in the orchestra was Beny Moré.

Bebo Valdés un virtuoso de la música cubana
Bebo Valdés un virtuoso de la música cubana

That same year he travels to Mexico with the purpose of recording a disc with this new modality of Cuban music, which also included a new choreography; they were not successful, and, according to Bebo Valdés, “the batanga died a natural death”.

When he left Cuba in 1960 due to disagreements with the Cuban government, Bebo also abandoned his family, his wife Pilar Valdés and his five children (including Chucho). Bebo Valdés goes to Mexico, then moves to Los Angeles, California, where he works with singer Miguelito Valdés; from there he travels to Spain, where he records two albums as director of the orchestra that accompanies Chilean singer Lucho Gatica.

Later he toured England, France, Holland, Germany and Finland with the Lecuona Cuban Boys. In 1963 he settled in Sweden, and worked with the Hatuey Orchestra, a Swedish group playing Cuban music. In Sweden he formed a new family when he married in 1963.

International career

After thirty years of relative anonymity, on November 25, 1994, Valdés received a call from Paquito D’Rivera, who invited him to record a new album in Germany for the Messidor label. A new beginning in his career took place at the age of 76 with the recording of Bebo Rides Again.

He participated in Fernando Trueba’s film Calle 54, along with, among others, pianist and composer Chucho Valdés, Paquito D’Rivera, Elaine Elías, Chano Domínguez, Jerry González, Michel Camilo, Leandro J. Barbieri (Gato Barbieri), Ernesto Antonio Puente (Tito Puente), Arturo O’Farrill (Chico), Israel López (Cachao), Orlando Ríos (Puntilla) and Carlos Valdés (Patato).

In 2004 he traveled to Salvador de Bahia, Brazil, to participate in Trueba’s film El milagro de Candeal, along with Carlinhos Brown, Marisa Monte, Mateus Aleluia and César Mendez.

Bebo y Chucho Valdés una verdadera dinastía de la Música Cubana
Bebo y Chucho Valdés una verdadera dinastía de la Música Cubana

An integral musician capable of tackling the most diverse genres and styles of music, not only as a pianist and composer, but also as an orchestrator and orchestra conductor of sublime values; of solid technical training, both theoretical and pianistic, Bebo Valdés is one of the all-time greats of Cuban music. He was, with Israel López (Cachao) and Patato Valdés, nominated for the Latin Grammy Award for El arte del sabor, best traditional tropical album 2002.

In 2002, Fernando Trueba produced Lágrimas negras, an album that unites flamenco singer Diego el Cigala with Bebo Valdés on piano.

After its release in 2003, it became an international success, recognized with a Grammy, three Music Awards, an Ondas Award, five Amigo Awards, three Platinum Discs in Spain and one each in Argentina, Mexico and Venezuela. The New York Times praised the album as Best Latin Music Album of the Year and opened the doors to a tour of Paris, New York, London, Havana, Buenos Aires, Tokyo, Mexico City, Madrid and Barcelona, among others. By the end of 2004 the album had sold more than 700,000 copies worldwide.

He retired to Benalmádena, a village in the province of Málaga (Spain), until his death in Stockholm (Sweden).

Chucho Valdés

Read also: Carlos “Patato” Valdés one of the best percussionists in the history of Latin Jazz

Rosa Maria Peña Collado, Rome and its Sauce Online TV program Music and Entertainment

Latin America / Peru

Rosa María Peña Collado: “ROMA Y SU SALSA” is an On Line TV Program with a MAGAZINNE format of MUSIC and ENTERTAINMENT that has as its main objective to promote the permanent diffusion of the Peruvian national talent and international guests that work in the different musical and artistic genres.

The Program “ROMA Y SU SALSA” begins its transmission in March 2015 through the web address http://www.radiomiraflores.com and later in other media such as

Rosa María Peña Collado - Roma y su Salsa
Rosa María Peña Collado – Roma y su Salsa

Roma y su Salsa

http://www.radioondadigital.com/tv

http://www.eccoradio.pe

http://www.caracolrecord.pe

where it has been executed in a sustained way (with two periods) until now.

In the itinerary of interviews and presentations, Peruvian members and talents of   ORCHESTRAS have paraded such as

Zaperoko La Resistencia Salsera del Callao

K’llao Salsa, N’Samble,

Creole Sax, Perkutao

Sabrosura

La Chola Caderona

Salome

Beto Chira and Orchestra

Las Estelares de la Rumba

The Wizards of Sauce

Sauce Suggestions

Son Canelas

Rock Band Stirrup

SINGERS AND COMPOSERS

Antonio Cartagena

Edilberto Cuestas CANTES Willy Rivera

Johnny Rojas

Kike Peña

Pablo Villanueva “Melcochita”

Victor Zanelli

Manolo Rodriguez

Carlo Supo

Shanney Hurtado

David Roman

Marcelo Villar

Martin Lopez

Anne Kolher

Laura Mau

Fanny Almenara

Sandra Cardenas

Rosa María Peña Collado
Rosa María Peña Collado

SINGERS AND IMITATORS

Paquito Português “Frankie Ruiz”

Isabel Castro “La India”

MUSICIANS AND COMPOSERS

Carlos Orozco

Isaac Sanchez

Juan Rebaza

Juan Arana

Juan Medrano “Cotito”

Manuel Leon

Daniel Venegas

MUSICIANS

Cesar Vivanco

Urban Collac

Maximum Chest

Mita Barreto

Lucho Cueto

John Canevello

Aldo de Dios

Omar Basallo

Percy Chinchilla

Carlos Nieves

Guillermo Arias

Jesús Zavala (visually impaired percussionist)

WRITERS

Mario Aragon

DANCERS AND CHOREOGRAPHERS

Charles Anton

Julio Zegarra

Joel Pictures

Daniel Vivanco

COLLECTORS

Walter Renteria

Beto Onetto

Albert Cologne

ANIMATORS AND PRESENTERS

Jorge Eduardo Bancayan

Dante Corrales

Oscar Godos

INTERVIEWS PERUVIANS LIVING ABROAD

Cesar Correa

Daniel “The Cat” Arboleda

Hector “Jereto” Ferreyra,

Rosa María Peña Collado
Rosa María Peña Collado

SINGERS AND COMPOSERS

Renzo Padilla “El Borincaico”

Mirko Radovic

Mike Ortiz, Luchito Muñoz

MUSICIANS AND COMPOSERS

Ahmed La Torre

Kiki Sanchez

Rafaelo Parejas

DANCER AND CHOREOGRAPHER

Cecilia Villalobos

DJ’s SALSA

Armando Carrasco

August Felibertt

(Caracas – Venezuela)

INTERNATIONAL ARTISTS

Pedro Brull

Roberto Blades

Pichie Perez, Jose Lugo (RIP)

Alberto Martinez

Alex D’Castro

Vitti Ruiz

Jose Fajardo Jr.

Nolberto Velez

Gerardo Rivas NG2

Patty Padilla

TELEPHONE LINK

Herman Olivera

Papote Jimenez

Ramonita Parra

Raffi Torres

DANCER

Allien Ramirez (Tri World Salsa Champion)

PRODUCER

Albert Torres (RIP)

Finally, it has been planned to resume the interviews via zoom in order to continue the permanent work of diffusion of the art and talent of the great SALSA FAMILY, complemented by the online radio that is under construction.

Rosa María Peña Collado
Rosa María Peña Collado

Peru: Roma y su Salsa

Rosa María Peña Collado

Driver

“ROME AND ITS SAUCE”

Honor to whom honor is due – Johnny Cruz

Johnny Cruz
Johnny Cruz

This month I hope to be able to pay tribute to great figures of our Latin music, who have worked tirelessly for years to make our music very high.

I want to greet my great friend Larry Harlow and wish him a speedy recovery. Larry Harlow is an American artist and performer, composer and producer of Cuban son, Montuno, Afro-Cuban jazz, mambo, guaracha, cha-cha, and salsa, hailing from Brooklyn, New York. Harlow, who is known for his mix of Afro-Cuban jazz and piano playing styles, studied music in the 1950s in Cuba, but was unable to complete his studies before the 1959 Cuban Revolution, forcing him to leave the island.

Larry Harlow y Johnny Cruz
Larry Harlow y Johnny Cruz

The Harlow Orchestra was the first to sign with Fania Records, Harlow has also produced more than 106 albums by various artists and more than 50 albums of his own authorship, in addition to those he produced for Fania. Among his most popular albums were “Abran Paso” and “Tributo a Arsenio Rodríguez” with Ismael Miranda as the vocalist. He also appeared with La Fania All-Stars, in the film, Nuestra Cosa Latina.

Harlow recorded one of his most momentous albums in just two days. Under the simple title of Salsa, it pays homage to the Cuban roots of tropical music, combining the sound of trumpets and trombones with two violins that evoke the aesthetics of the charanga of groups such as Orquesta Aragón.

With “The portfolio”, a version of a song by Arsenio Rodríguez, Harlow finds his greatest success. Thanks to the singers Adalberto Santiago and Junior González, the nickname “the wonderful Jew” arises. In 1972, salsa was in full swing. Larry Harlow, meditates on a musical concept for the Afro-Caribbean music market. Inspired by the success of the Anglo-Saxon opera, “Tommy”, Harlow was preparing for the launch of a similar concept, aimed at the salsa market.

For 1973 the opera Hommy, using the lyrics of Heny Álvarez, tells the story of a boy who, although blind and deaf, had a great talent for percussion. The outstanding musicians of the time and singers such as Justo Betancourt, Cheo Feliciano, Adalberto Santiago, Junior González, Pete “El Conde” Rodríguez and Celia Cruz joined.

The combination of musicians and voices achieved its goal with a recording that established a lecture in the history of Afro-Caribbean music with a radiant exhibition that captured the airwaves and the imagination of the salsa audience. The songs “Es un Varón”, “El Día De Navidad”, “Quirinbomboro”, “Gracia Divina”, “Cari-Caridad” and “Soy Sensacional” were undoubted radio hits that became themes of dance and discussion among all the salseros.

It was the first time that an opera, Spanish-speaking, and in the salsa guild, was directed to the populace. Salsa got dressed up and that legacy opened the doors for the Afro-Caribbean musical tradition to now visit the most prestigious venues in the world.

That is the legacy of “Hommy”, one of the best recordings of the time, which brought together the best musicians of the moment in an expression that transcended time; and, in turn, he brought Celia Cruz to the salsa market and placed her in a seat of honor which she never left. But more importantly, “Hommy” took Salsa to a new place among audiences. What a contribution from Larry Harlow!

Ralph-Irizarry
Ralph-Irizarry

I also want to send my regards and appreciation to Ralph Irizarry. Recognized as one of the timpanists with the greatest “swing”, Ralph Irizarry has a distinctive style that has allowed him to leave an indelible mark in the groups where he has played. Born in Harlem Latino New Yorker, Ralph is a self-taught musician who learned his trade by listening to his brother’s records and the music of his idols in nightclubs, where he used to sneak into when he was 16 years old.

His family moved to Puerto Rico when Ralph was in his teens; There he acquired his first professional experiences with La Terrífica, El Gran Combo, La Sonora Ponceña and many other groups. After three years on the island, Ralph returned to New York, where he began playing with local groups.

One winter night in 1978, he met the legendary Ray Barreto at Manhattan’s Corso Nightclub and began a productive working relationship that would result in five extraordinary recordings. Ralph has recorded with David Byrne, Paul Simon, Harry Belafonte, Earl Klugh, Juan Luis Guerra, Cachao, Celia Cruz and Yomo Toro, although he is widely recognized for his musical relationship with Rubén Blades and Seis Del Solar, with whom he remained. recording and performing internationally for 13 years.

His musical contributions have also been fundamental in the recording of two Latin jazz albums made by Seis del Solar for the Messidor Records label. Currently, he is one of the most sought after musicians who has kept working on commercials and film and television soundtracks.

His charisma also allowed him to develop an unexpected acting career: he acted in The Mambo Kings, playing the role of Pito Fernández. In the summer of 1996, Ralph participated along with Tito Puente in the show Master Timbaleros, presented at S.O.B.’s in New York. This historic concert was the culmination of 26 years of dedication, practice, and love of music. He founded the group Timbalaye, a septet with a strong big band sound.

The group combines contemporary Latin jazz with diverse tropical rhythms (timba and songo) and traditional Afro-Cuban rhythms (bomba, cha cha chá and son montuno). Their innovative sound has allowed the group to perform weekly at various venues in New York. Among his most recent projects is a recording at Birdland for a compilation to be released by the RCA Records label. Timbalaye is considered the force of Latin jazz. My hug and respect to you Ralph!

I am happy to express my gratitude and admiration to a powerful woman, Director of Taínos Tower and Vice President of the Museum of Salsa: María Cruz.

Johnny Cruz and Mrs. María Cruz
Johnny Cruz and Mrs. María Cruz

María Cruz was born in Carolina, Puerto Rico. In 1966 she came to New York looking for new opportunities. While studying at Manhattan Community College, she began working with the East Harlem Pilot Block Redevelopment Project. Although she may have had no idea at the time, that job was the beginning of her career as a community activist and advocate for social services. As a community worker at the East Harlem Pilot Block, she helped design and offer a tenant orientation in preparation for the occupation at Taino Towers.

Later, she became a Building Representative and worked with tenants regarding apartment issues, rent, social service issues, and Section 8. Maria Cruz has been involved in many community activities:

From 1984 to 1989; She served as president of the Tenants Association of her apartment building. She was vice president of the East Harlem Little League Baseball organization. In her spare time, she organized bus trips for neighborhood children to amusement parks and ball games. Encouraged and assisted several tenants to return to school and continue their education, so that they can be trained and empowered to return to the workforce and leave Public Assistance. Ms. Cruz earned her RAM (Registered Apartment Manager) certificate from NYU and is registered as a Certified Leasing Professional.

Currently, Ms. Cruz is the Executive Director of ARCO Management Inc. / Taino Towers. She has always been a strong activist for the community. In the summer of 1999, Ms. Cruz organized the first annual Taino Family Day. Day in which all residents and members of the East Harlem community participate and celebrate a day of unity. On Taino Family Day, residents rent “kioscos” food stalls and sell various ethnic foods, dance to the rhythm of various musical bands, and children enjoy activities such as face painting, puppet theater, and a petting zoo.

Each year, Ms. Cruz focuses on a different topic such as: education, music, tributes, and family values. As Executive Director, one of her greatest accomplishments was the renovation of the Touro College building. She is currently a board member of the East Harlem Council for Human Services and works closely with local politicians and representatives.

In 2002, Ms. Cruz along with Irving “Magic” Johnson opened the Magic Johnson Computer Learning Center. This program provides computer classes to Taino Towers and the East Harlem Community. As Executive Director, she was also able to oversee the completion of the Senior Park at Taino Towers.

In the summer of 2003, voted by the majority of the tenants, the Park for the elderly was renamed the Maria Cruz Park for the elderly. In September 2019, she was honored with the Eugenio María de Hostos Award from the Puerto Rican National Association for her commitment to the East Harlem Community. People like Mrs. Cruz are exemplary citizens of the Latino community in the United States, and in New York.

Papo Rosario and Isidro Infante
Papo Rosario and Isidro Infante

Do not stop listening to the new single: “Gracias”, and the first solo production of Papo Rosario, produced by the arranger and musician Isidro Infante. Rosario is grateful to be alive and to be able to walk after being bedridden as a result of a car accident. Papo Rosario is a world-class artist who has put the name of Puerto Rico high. Rosario, withdrew in 2019 from the group considered the “university of salsa”, El Gran combo de Puerto Rico, after having an accident and presenting health problems. Now, he affirms that he already feels ready to resume his musical career with the launch of his first solo production by producer Isidro Infante. Much success in this new stage.

I highly recommend that you follow the track of Quintero’s Salsa Project, a Venezuelan salsa group based in New York, nominated for a Latin Grammy and led by cousins ​​Luisito and Roberto Quintero, released an album in which they pay tribute to the work of La Dimensión Latina, the orchestra that represented a before and after in the history of this musical genre in Venezuela.

Quintero´s Salsa Project
Quintero´s Salsa Project

The band wanted to go back to the 60s to remember that particular style with which La Dimensión Latina championed Venezuelan salsa: “Many of the world’s salsa players and Venezuelans identify with this rhythm. We, the Quintero, have always been loyal fans of these great teachers. With this album we wish to pay tribute to those who today are a world icon of salsa ”, they said through their networks. “Ya tú lo verás”, promotional single from the album composed by Oscar D’León, was arranged by the legendary trombonist and director of La Dimensión Latina, César Monges, better known as “Albóndiga”.

The album is the second released by Quintero’s Salsa Project, following their debut project, Nuestro Hogar, which was nominated for the 2019 Latin Grammy for Best Salsa Album. In that same ceremony, Luisito Quintero, one of the great Venezuelan percussionists who make a professional life in the United States, received the gramophone as a member of the Spanish Harlem Orchestra, which was recognized for his Anniversary album as Best Latin Tropical Album. Quintero is also a member of the group of the great pianist Chick Corea. Do not miss it!

The invitation to tune in to the new Fm / Internet radio station on Live365.com continues: Salsagallery. Good music, interviews with the artists and much more.

Johnny Cruz on the Radio
Johnny Cruz on the Radio

At the Spanish Harlem Salsa Gallery Museum we are happy to say that we are gradually returning to our activities and we will be opening the gallery sporadically. We do not stop, we continue to work for our music and we will always keep you informed through our social networks. We hope to have more news shortly and that we can return to normal soon.

By Johnny Cruz, ISM Correspondents, New York, New York City

Vicentico Valdés “The elastic voice” of Bolero in Cuba and the Caribbean

“The earrings that the moon lacks I have kept to make you a necklace”.

Vicente Valdés was born in the neighborhood of Cayo Hueso, Havana, on January 10, 1921. He was the younger brother of Alfredito Valdés (1908-1988), a versatile singer who performed with numerous sones groups, ensembles and orchestras in Cuba until, around 1940, he settled outside Cuba, mainly in New York and Mexico, where he continued his artistic career.

Vicente Valdés Una Vez
Vicente Valdés Una Vez

Two of Vicente’s other brothers, Marcelino and Oscar, stood out as percussionists, and the latter also as a singer in the Irakere group.

Also known as “La voz elástica” Vicentico is one of the most celebrated interpreters of the bolero with a great interpretative strength and dramatization in his performance for the benefit of couples in love who enjoy his songs to this day.

Valdés was part of “El Septeto Nacional”, the orchestra of Cheo Belén Puig, “La Cosmopolita”, the orchestras of Noro Morales, Arturo Núñez and Tito Puente,

In 1937, recommended by Alfredo, Vicentico sang for a short time with the Segundo Septeto Nacional, a group that had been founded to share the multiple artistic commitments that the renowned Septeto Nacional of Ignacio Piñeiro received at that time. He was also a member of the sones sextet Jabón Candado.

Vicentico Valdés La voz elástica del Bolero en Cuba
Vicentico Valdés La voz elástica del Bolero en Cuba

Later, he replaced Alfredo as a singer in the orchestra of Cheo Belén Puig, one of the most famous Cuban groups of the charanga format. Later, he joined the jazz band Cosmopolita, led by Vicente Viana and later by pianist and composer Humberto Suárez.

Together with Marcelino Guerra Rapindey and Cristóbal Dobal, among others, he was part of the sextet Los Leones.

In the mid-1940s, due to the difficult economic situation in Cuba after World War II, Vicentico, like many other Cuban artists of the time, went to Mexico to explore new horizons for his work in music.

In the Mexican capital he performed with Humberto Cané’s conjunto Tropical, and the orchestras of Arturo Núñez, Rafael de Paz and Chucho Rodríguez, with whom he later recorded with Benny Moré. In those years he received his first ovations on the stage of the Follies.

In Mexico, between 1946 and 1947, he made recordings for the Peerless label, backed by the orchestras of the Mexican Rafael de Paz and the Cuban Absalón Pérez.

The repertoire chosen for these records consisted almost entirely of guarachas, afros and sones montunos, which had been popularized in Cuba by Orlando Guerra Cascarita with the Orquesta Casino de la Playa.

Vicente Valdés
Vicente Valdés

Vicentico was hired as a singer of the musical group of the Puerto Rican pianist Noro Morales in New York at the end of 1947. In that city he had a successful season at the Hispanic Theater which, according to the chronicles of the time, “consecrated him in the taste of the Latin community”. He also performed at the Million Dollars, Park Plaza and Puerto Rico theaters.

In 1948 he joined Tito Puente’s orchestra as a singer, along with his brother Alfredo. With Puente he recorded his first boleros (among them “Quiéreme y verás”, by José Antonio Méndez) for the Seeco label. Until then he had been used mainly as an interpreter of upbeat numbers. With Tito Puente he made numerous recordings throughout his career.

In 1953, the Seeco record company promoted a group of recordings with the Sonora Matancera, which had great repercussion in Cuba, where he was hardly known, and in other Caribbean countries.

Among the pieces recorded in Havana in November of that year were two boleros (“Una aventura”, by Elisa Chiquitica Méndez and “Decídete mi amor”, by José Antonio Méndez), a genre in which he achieved the greatest triumphs of his career.

From then on, in New York, with great studio orchestras conducted by René Hernández, Joe Cain, and later Charlie and Eddie Palmieri, he made new recordings that were quickly distributed throughout Latin America.

Their repertoire during this stage (early 1960s) included boleros and songs by authors of different tendencies and styles; the Cubans René Touzet, Javier Vázquez, José Antonio Méndez, Piloto y Vera, Pepé Delgado, Juan Pablo Miranda, Marta Valdés and the Rigual brothers; the Puerto Ricans Silvia Rexach, Myrta Silva and Rafael Hernández; the Dominicans Rafael Solano and Manuel Troncoso; and the Mexicans Manuel Prado, Luis Demetrio and Armando Manzanero.

Vicente Valdés y La Oquesta de Bobby Valentin
Vicente Valdés y La Oquesta de Bobby Valentin

La Sonora Matancera among others no less important. He also excelled in other genres such as Mambo, Guaguancó, Son and Guaracha.

He was an exceptional singer with a particular style that set the standard and also spread the best Latin American bolero composers, particularly those of the Cuban Feeling, of which he was a valuable promoter at an international level. His career as a soloist was impeccable.

He died in a New York hospital on the morning of June 26, 1995, according to a heart attack.

Source: En Caribe

Sonora Matancera

Read also: La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.