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Search Results for: Oscar D' León

This is Roger Danilo Páiz Pérez from Danilo Y Su Orquesta Universal

Why is he called Danilo?

We will start a conversation with bandleader, percussionist, and singer Roger Danilo Páiz Pérez. Pleased to meet you, how are you doing?

I’m fine thanks, Karina. Sitting here and ready to be interviewed by your magazine. I have a lot of information about what has happened in my life being a musician here in the Bay Area since the 70’s.

Danilo on guitar at one of his frequent restaurant performances

You are Francisco Pancho Perez’s grandson. Did your grandfather serve as inspiration for the path you would take in music?

Definitely he did. I remember being about four or five years old when I used to hear my grandfather play with his big band, which was composed of 15 or 14 musicians. I always listened to them practicing in our house and started dancing, so my grandfather used to call me cha cha chá. It was a great inspiration for me.

He played music similar to American jazz, and that’s where the inspiration for the music I play today comes from. The salsa that I write is inspired precisely by that kind of jazz.

Where does the name Danilo come from? Also, why is your orchestra called Danilo Y Su Orquesta Universal?

I have to make it clear that Danilo is my middle name since I was born. This is not a nickname as many believe. Some people even think that I have changed my name, but I didn’t. Roger Danilo Páiz Perez has always been my name.

Everyone called me Roger Páiz in the past, that is to say, people called me by my first and last name. In fact, when I played with Rubén Blades in 1989, the album we recorded has me in the credits as Roger Páiz. But when I founded my own orchestra in the 1990s, I thought Danilo was better suited to Latin music, so I started using my middle name to call my orchestra Danilo Y Su Orquesta Universal.

The word universal comes from the fact that I am a Buddhist. I practice the religion of Nichiren Daishonin (monk in Buddhism from Japan in the 13th century and founder of the branch of Nichiren Buddhism) for more than 30 years. That word is widely used in the Buddhist scriptures, and I am very involved in that.

Roger Páiz getting ready to hit with Josh Jones’ band

Your country of origin is Nicaragua. Is Nicaraguan salsa similar to Californian salsa? Are they different? Do you combine them?

Since I was very young, I listened to a lot of Cuban orchestras. I remember my dad tuning in to Celia Cruz, La Sonora Matanzera, among others. From that experience, I picked up all those things since childhood.

Here in the United States, the style was much more modernized. However, I grew up listening to El Gran Combo de Puerto Rico and many other orchestras in the ‘60s and ‘70s. My biggest inspirations were Héctor Lavoe, Oscar De León, Rafael de Jesús, Cheo Feliciano and many others from those years. I paid a lot of attention to how they sang and the melodies that they used.

What Danilo has learned from his musical references

You have made contact with Latin music stars such as Ray Barretto, Rubén Blades, Benny Velarde Y Su Super Combo, Andy Narell, Ray Obiedo, Cheo Feliciano, Oscar De León and many others. What did you learn from all these musical references?

For example, I shared a gig with Cheo Feliciano in Puerto Rico while I was with Rubén at a concert. (Luis Enrique was actually at that concert as well.) Cheo taught me how to phrase with the clave, since this is a very important detail in singing Salsa.

In the case of Héctor Lavoe, I learned a lot from the melodic part. When he sang, the melody was very interesting and appealed to me a lot.

Another singer I liked a lot was Rafael de Jesús, because his style tended to sound like jazz. Sometimes he sang some lines that sounded very jazzy, but he never lost his style as a Salsa singer. That’s one of the main things I liked about him.

Another singer I liked a lot was Rafael de Jesús because his style tended to sound like jazz. Sometimes he sang some lines that sounded very jazzy, but he never lost his condition as a salsa singer. That’s one of the main things I liked about him.

Danilo y Su Orquesta Universal at the San Jose Jazz Summer Fest 2019

Did he receive academic training in music?

I took classes  in Oakland, California, learning music theory, piano, singing, and much more. These studies helped me a lot to better prepare myself musically speaking.

Studying music is important because it enhances the way you perform, sing, and play on stage. That’s when people can tell whether you are a musician who has studied and analyzed music. I’ve met musicians who learned everything by ear and they never progress to the next level.

Of course, there were also things I learned on the stage, in the studio and in rehearsals. I’ve unified all this knowledge to do my job to the best of my ability.

I saw that you have some dates to perform in the Bay Area and other places, can you tell us a little bit about that?

In 1995, I got the opportunity to take a group to Singapore (to be the house band at the Hyatt Regency Hotel). What I did was to find the best six musicians who could play the music I was asked to play. We rehearsed, traveled to Singapore, and stayed there about three months, all expenses paid. It was an amazing experience and I was honored to present my music in that country.

Danilo with Tito Puente, Jr.

What about your current performances?

We just played at La Peña here in Berkeley. It was really good, a lot of people showed up there and they recorded the whole show. Fans sent me some videos as well, so I have to start editing them.

We also played at The Ramp, El Rio, The Turf Club, Kimbara, among others. Coming up, we will be playing at the Cigar Bar.

Let’s talk about your latest album Perseverando.

I decided to call this album Perseverando because of my experience of overcoming the difficulties of maintaining a music career.

Turning to Buddhism, the word perseverando is very important, because life puts barriers in your way and you have to persevere to overcome them. It was common for record labels to say that they were saturated and couldn’t sign me, but I kept writing and recording original music despite the difficulties. The first album is called Vivencias and the second one is called Avanzando. They are titles that have had a lot to do with my life experiences.

I made a video for one of the songs on this álbum, Rumberos de la Bahia, which is on YouTube: https://youtu.be/z3E7K_5SLJo

What other projects do you have pending?

I’m thinking about putting out an album that will be a combination of songs that have not been released yet with some remixes of songs on my albums. Although a dream of mine is to be nominated for a Grammy, that is not why I créate music. Music is my life and my passion.

Cover of the album Perseverando

 

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Europe July – 2022

Luis Medina as a master of ceremonies, broadcaster, DJ and much more

Incredible conversation with Luis Medina

Luis Medina on the radio
This is Luis Medina on the radio

Good afternoon, everyone. We are here with broadcaster, DJ and event producer Luis Medina. Mr. Medina, how are you today?  

I am well and ready to talk to you right now.

Mr. Medina, you have a very long career as a radio presenter. You got started in this business in 1974. What led you to spend so much time in your career on the radio? 

In 1971 I was studying architecture at San Francisco State University, but in 1974 I changed my major to broadcasting and communications in the Department of Radio and Television. When I was a kid, I was always fascinated by broadcasters on TV with their microphones. My parents gave me a toy microphone, and I always imagined I was broadcasting. At the time I was accepted in the broadcasting program, I already loved salsa because my cousin  Stella played popular music for me since I was about 8 years old. I loved all kinds of music. At home, we always had the radio on, and my parents always listened to tropical music, which was very common at that time.

In 1974 my cousin Eduardo invited me to go to a radio station called KBRG to visit some friends who had a program called Venezuela Suya. In another studio in the station, there was a radio producer named Arturito Santiago, who was the master of ceremonies for the Gran Combo de Puerto Rico when they did dances in San Francisco hotels. When I saw him doing his job, I was intrigued. Two months later, my cousin called to tell me that he’d gotten involved in a community radio station called KPOO San Francisco and asked me if I wanted to help him with the show. I brought a stack of LPs, and we did the show from midnight until 6 am. I went a few times to help, but I could not maintain that pace because I was still in college.

A few months later, he called me to tell me that he had a show from 3pm to 6pm on Sundays. He told me he was talking to other people I knew in order to do the show together. I got a segment of 45 minutes to an hour to do whatever I wanted, so I decided to start programming salsa. I helped produce several programs until I had my own show. In 1979, while I had a four-hour show on Saturdays on KPOO, KBRG’s program director, Al Carlos Hernandez, called me. KBRG was a powerful FM station at that time. That gave me the opportunity to do a commercial show.

DJ Luis Medina
Broadcaster Luis Medina with two maracas

I am part Venezuelan and part Mexican, but I grew up in the United States. I spoke Spanish perfectly until I was five years old, but when I started school, I just wanted to speak English in school and at home. When I turned 18, I decided to get my culture back and relearn to speak Spanish again. However, I’m wasn’t completely fluent in Spanish because I have to translate mentally from English. I explained the situation to Al Carlos, and he told me that he did not care. That’s how I became the first radio announcer to do salsa programming in English on a Spanish-speaking station. The program was called Sabor Caliente and it lasted about a year and a half, until they let me go due to philosophical differences. After that, I did specials in KPFA, until Víctor Castro, who produced the program Ahora, invited me to alternate weeks with him. I produced salsa shows on KPFA from 1983 to 1995.

What Medina has to say about all his combined activities

How do you balance your radio activities and event production and your job as a DJ?  

When I was a student at San Francisco State University, I became co-director of the university’s productions to present musical acts. From 1974 to 1976 I presented acts from various genres such as rock, R&B, and jazz, among others. I also presented some salsa and Latin jazz shows, including Pete and Sheila Escovedo, who were part of Roger Glenn’s band, Benny Velarde and others. I became friends with Pete and Sheila before Sheila became Sheila E and I also worked with Pete’s brother, Coke Escovedo in the 70s.

Then I met Roberto Hernandez, who had an organization that helped produced the first major street fairs in the San Francisco Mission district together with a coalition of community agencies. I got involved with the fairs, which presented the famous singer Joe Bataan among others. It was the era of Latin rock, but salsa was also booming. I was part of the renaissance of salsa music that occurred on the radio, but I also had the opportunity to play an influential role in the community in the Mission. In 1977, the Mission Cultural Center opened in a furniture store ran by artists that were organizing it. I became part of the music committee and we presented performances and salsa groups that were growing in fame at that time. I was involved on the activities of the center until the 1980s, when some of us created a production group called CMP (Cultural Music Productions). During the 80s we did a series of dances, in which I worked as master of ceremonies. I already had experience as master of ceremonies because when I was at KBRG, they gave me the opportunity to introduce some great shows with Celia Cruz, La Sonora Matancera, Oscar D’ León, Cal Tjader and La Orquesta Broadway. I was also master of ceremonies for Brazilian carnivals for about five years. With CMP I was involved in dances with Willie Colón, Bobby Valentín, Oscar D’ León, and boxing champion Roberto Durán (who at the time wanted to be a salsa singer).

Eventually I left CMP, and I was contacted by Roberto Hernandez, who offered me the position of entertainment director of his new organization, MECA. I accepted and started to help him program the schedule for events such as the San Francisco Carnival, and the 24 Street Fair. I worked with Roberto until 1994 and we presented Santana, Los Lobos, Eddie Palmieri, Luis Henrique, Willie Colón, Yomo Toro, Mighty Sparrow, The Neville Brothers, Shaggy, and many more. When Roberto Hernandez left the organization, I stayed for four more years and worked with Manny Oquendo and Libre, John Santos, Pete Escovedo and Pancho Quinto. In 1998, the president of the organization Patricia Aguayo and I had some problems, so we stopped working together.

A radio DJ and a party DJ are two completely different things. It took me a little while to adjust to being a live DJ. In the early 1990’s, the producers at the Alta Vista club hired me from time to time. Then, they moved to a ship called Alta Vista del Mar in Pier 3, and occasionally hired me as their DJ.

Event producir Luis Medina
Event producer Luis Medina posing for or the camera

In 1994 I met a very ambitious young Venezuelan by the name of Adrian Goddard and started working with him at his club, 330 Ritch. It was a winning combination of Adrian’s talent as an event producer and my talent as a DJ and MC. I worked there for about nine very successful months, but then I had an opportunity with KPFA and I was forced to leave the club because the schedule conflicted. My priority was to produce my own salsa show (ironically, this program didn’t last long, but in 1997 they offered me the same slot, which would become the program Con Sabor, which I still produced today, 25 years later, at KPFA, on Saturdays from 9-11pm.)

A little later, Kimballs Carnaval hired me as a Latin House DJ, as this rhythm was very popular at that time. I wanted to please them, but it wasn’t a good fit. Eventually I was hired as a salsa DJ by the club Kimballs West. This opened other opportunities and I became the DJ in residence at the most prominent salsa clubs in San Francisco at the time, the legendary Jelly’s Cafe, where I DJ’d until it closed in 2010 and the popular Café Cócomo, which closed in 2014. I now DJ and MC primarily for special events and private parties.

Something very important in my story is that in 1997 I worked with Bill Martinez and Arturo Riera  and they both gave me the opportunity to be master of ceremonies for a very important series of concerts featuring Cuban musicians who were allowed into the States for the first time. I was the first master of ceremonies for a Los Van Van concert in San Francisco and I also represented my show and KPFA for their concert at Stern Grove in 2019. That was one of many times that I worked with that group.  I also was the MC   for Orquesta Aragon, Cubanismo, NG La Banda and other Cuban acts.

During the pandemic, I was offered a show with an online radio station called World Salsa Radio. I started the show Sabiduría con Tumbao on Wednesdays from 5 to 7 pm. What makes this show different from Con Sabor is that Sabiduría Con Tumbao is a conceptual program that focuses on certain musicians, musical themes and movements within salsa and Afro-Latin music. On the other hand, Con Sabor offers a broader perspective of salsa, Latin Jazz and música cubana from the classics to the latest.

Since the pandemic started, I produce all my radio shows at home. I managed to master the technology and built my own home studio. I am not afraid of technology or modern things. I go with the flow because I’ve learned that I should be at the forefront of technology and music. If I do not know something, I am going to research it right away. I keep an open mind and ears and I appreciate and listen to all kinds of music, something that was key when I was music director at KPFA from 2001 through 2014. In terms of my own programs, I really love salsa from the 70s, but I’m not stuck in any time period.

Eduardo and Luis
Our editor Eduardo Guilarte and Luis Medina

 

Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”

Born on December 7 he comes from a very humble family but full of lots of love and flavor.

Roots:

my dad played the guitar and serenaded all the women in the neighborhood, my mom loved to play and sing, she would take a pewter plate and improvise a güiro and start playing and singing hahahaha. I also had an uncle who was a singer of Mexican music (Rancheras) my first recording was in 1965 with the Sexteto Tropical.

That’s where I come from.

Freddy de Jesús Ortega Ruiz
Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero” y Dj. Augusto Felibertt

How many productions do you currently have?

In total I have about 45 productions with different groups, but with my Conjunto COCO Y SU SABOR MATANCERO I have 8 productions.

In your musical trajectory, which musicians have left their mark on you?

The first one was my debut in the professional field with Maestro Porfi Jimenez and the stars of Venezuela.

This was in 1974 where I had the joy of being the first Venezuelan singer to perform with Las Estrellas De Fania at the Nuevo Circo de Caracas.

And also to have accompanied great stars of Latin music with my Conjunto COCO Y SU SABOR MATANCERO.

Among them the Queen Celia Cruz, the Inquieto Anacobero Daniel Santos, Celio Gonzalez, Leo Marini, Nelson Pinedo, Lino Borges, Mundito Gonzales, Canelita Medina, Trina Medina Cheo Garcia, Memo Morales, Oscar D Leon and others.

Of the productions you have, which is the most significant?

One of them is the album entitled Coco y Su Sabor Matancero “Sabor Ritmo y Calidad” where the great singer and (sonero) José Alberto el Canario participates as director, chorus and co-producer.

And the other significant one is COCO Y SU SABOR MATANCERO CON “TODO” because there I managed to bring together several artists of the stature of Wilmer Lozano,

Mariana la Sonera de Venezuela, the comedian and singer El Moreno Michael and Rodrigo Mendoza, also the floor singers Luis Muñoz and my son Coco Ortega Jr.

How many productions have you participated in as an independent producer of your own?

Born on December 7th, he comes from a very humble family but full of love and flavor.
“Coco & su Sabor Matancero”

The first was Yo Soy El Son Cubano, Coco y Su Sabor Matancero en Concierto, a Gozar con Mi Son Cubano, Coco y Su Sabor Matancero Original, Coco y Su Sabor Matancero Tremendo Comban and Coco y Su Sabor Matancero “Con todo”.

Where are you currently living and how do you see the music scene there?

At the moment I am in Caracas Venezuela

At present, as in all parts of the world, we musicians have been the most affected since the work has declined too much, but we hope that with God’s favor things will open up little by little and that we will become aware that this is not a game and that we have to take care of each other.

Have you been in the best time of your life and what do you miss the most?

What I miss most is the era of the 70s, 80s, 90s.

When we played in three and four places on the same night.

Tell us about your last production?

As I told you, I had the pleasure of bringing together first class singers and the result was Coco y Su Sabor Matancero “Con Todo” (With Everything).

Coco y Su Sabor Matancero (ft: Rodrigo Mendoza) – Margot, tell us about this song?

Let me tell you that this song Margot is a Venezuelan waltz pasaje of which three versions have been made, the first interpretation was made by a great representative of our Venezuelan Music as it was Don Mario Suarez, then it was made by a great Peruvian musician Don Lucho Macedo.

And the most resent by Coco and its Matancero flavor and the person selected to interpret it was one of the great singer (sonero) Rodrigo Mendoza for his great interpretative quality of our Latin Music.

Do you miss Venezuela, your homeland?

The time I was living in the United States I missed daily my dear and always loved Venezuela, now I am in my homeland Venezuela.

What are we currently expecting from Coco & su Sabor Matancero?

My most recent production titled “Un Guaguancó Páramo” which was released on December 16, 2021.

“Un Guaguancó Pá mi Barrio” by Angel Flores, a song that brings together eight great

manages to bring together eight great exponents of our Latin music.

Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”
Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”

Performers:

Coco Ortega Jr.

Coco Ortega

Mariana “La Sonera de Venezuela”.

Angel Flores

Yorjan Cardona

Jimmy El León

Marcial Isturiz

Rodrigo Mendoza

Arrangement and Musical Direction:

Félix Guzmán “Guachafa”

Members Coco y Su Sabor Matancero:

Coco Ortega general director – singer, minor percussion

Andrés Romero “Tapón” – Trumpet

Cesar Guares “El Guaro” – Trumpet

Félix Guzmán “Guachafa” – Bass guitar

Franklin Infante – Piano

Igor Cochyze- Timbalito

José Araujo – Tumbadora – Singer

Coco Ortega Jr. – Singer

Yorjan Cardona – Singer

Backing Vocals:

Carlitos Guzmán

Eloy Blanco

Special guest:

Leo Pérez – Flute

Article of Interest: Fabián Rosales Araos Chilean singer-songwriter, native of the city of Valparaiso

Dj. Elvis Abello “El de la Salsa Dura en Caracas”

Since 2021, he has been vice-president of the Olimpiada Salsera Internacional de Venezuela Foundation.

He was born on July 3, 1982, in the city of Caracas, with only eight years old, and led by the hand of his father Carlos Abello, his uncles, Hector Diaz, Jhon Abello, Ali Abello, would discover his love for salsa, surrounded by acetates, parties, and stereo.

At the beginning of the 89’s, at his grandmother Crucita’s house, the whole family and friends would gather to share and dance a good salsa, his father would place a plastic box so that it could reach the turntables since at that time his father used vinyl.

Elvis, feeling attracted by the rhythm, already knew some singers, looked for the songs and musicalized those parties, being this way his debut in the world of salsa.

He was born on July 3, 1982, in the city of Caracas, with only eight years of age, and led by his father Carlos Abello, his uncles, Hector Diaz, Jhon Abello, Ali Abello, he would discover his love for salsa, surrounded by acetates, parties and music equipment.
Elvis Alberto Abello Guerrero (El de la Salsa Dura)

In 1996, as a teenager, he began his foray into the music scene in the company of his friend and compadre Jesus Manuel Diaz Mendez, the product of brotherhood and the interest that united them mutually for salsa decided to venture into the world DJ, formed a mini-teque called “Eskpe Display”, They formed a miniteca called “Eskpe Display”, making it known in several popular areas of the capital, especially in the “Paramoconi Park” located in San Bernardino, Caracas, where the popular matinees were held, with a mixed audience from the west of the city, this project would give them the recognition of the dancers and salsa fans in several parishes of Caracas, for several years.

ELVIS, dedicated several years of his life influenced by his family, in this case by his cousins; Ivan Guerrero and Julio Fernandez, to collect discography of his favorite artists, such as: Gilberto Santa Rosa, Ruben Blades, Lalo Rodriguez, Alex de Castro, Tito Allen, Luis Enrique, Hildemaro, Rey Ruiz, Roberto Roena, Cano Estremera, Domingo Quiñonez, Luisito Quintero, Orlando Poleo,Kenny Cruz, Pimi Cruz, Rafael de Jesus, Paquito Guzman, Tito Nieves, Celia Cruz, Oscar de León, Alfredo Naranjo, Marcial Isturiz, Pupy Santiago, Carlos de Castro, Yomar Caballo Mendez, Adalberto Santiago, Jhonny Colón, The Lebron Brothers, Natividad Martínez, Tommy Olivencia, Pete Conde, Sonora Ponceña, Orqueta Tokun, Orqueta O. S, Orqueta Pumaband, Orqueta Mulenze, Wichy Camacho, Pedro Brull, Dimensión Latino, among others. He was a faithful dancer at La Asunción, City Day, Rumbero, Status, Extremo Latino and a fan of the events organized by Betty Zapata together with Juan Carlos Ríos, such as La Noche del Bronx, Orquesta de Willie Rosario, Charanga 90, La Negramenta, Bobby Valentín, among others, always getting infected and betting on the salsa scene.

Thank you for being part of this project ? In this link you will find all the information: https://bailopinto.com/esta-salsa-me-gusta-dj-edition/ Guest Dj @elvisaag Best regards! Saul Delhom @bailopinto
Dj. Elvis Abello “Esta salsa me gusta – DJ’s Edition”.

During the stage of the beginning of the pandemic, a new boom was born for live broadcasts on Instagram Live and Facebook Live, being this an opportunity for Elvis Abello (El de la Salsa Dura) to work as a musicalize in the events of Salsa Dura, known in Venezuela as salsa guateque.

Hand in hand with great DJs such as; Manolo Mariño, Luis Flores, Ruben Arias, Jeferson Parra, Jesus Manuel Diaz, Dervy Palace, Zulay Millan, Susana Calderin, Augusto Felibertt, Edward Alberto, Francisco The Dj Latino, Alan Marriaga, Jaime Guanipa, Rey Salsamania, Edgar Mendoza, Carlos El Latino, Alfredo Lozada, Sol Graffe, Franklin Espinoza, Jheison Parra, Chachito Blanco, Junior Oriak, Kituku Sanchez, Roberth Hidalgo, Nery Jones, David Ferrer, Jesus Jaspe, Felix Valderrama, Andres Hernandez, Cesar Sonero, Jordan Moreno, each one of them, gives their best on stage so that the Salsera nights in Venezuela are of excellent quality.

Since the year 2021, he is vice president of the Olimpiada Salsera Internacional de Venezuela Foundation, this foundation works to project the different DJs and Musicalizadores existing in the whole world, through digital platforms, such is the case of Instagram and Facebook, in the same way the foundation delivers donations in order to help those most in need.

Since October 26th of this year, Saul Delhom and bailopinto.com publishing house, has invited Elvis Abello and several DJs to participate in the digital project called, “Esta Salsa me Gusta- DJ^s Edition”. The book contains a selection of songs associated with tastes, stories, and anecdotes told by each of the interviewees. It is worth mentioning and taking advantage of the essence of this book that talks about the melody as an anchor in certain moments of life; Elvis recalls moments lived with his daughter Madeleine Abello with the song “Al Pasar Los Años” by the Mulenze Orchestra, and his son Samuel Abello, with the song “Y Vuelvo a Fallar” by the same orchestra.

DJ Elvis Abello, for his professionalism, creativity, and charisma, has led him to be recognized as “El De la Salsa Dura”, in various clubs and discotheques in the capital.  At the present time, Resident DJ of Café Latino, in the city of Caracas and Director of EA Productions; taking the best Salsa events throughout Venezuela.

Facebook: Dj. Elvis Abello

Article of Interest: Saúl Delhom “Esta Salsa me gusta” one of the things I like the most is to learn, create and share

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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.