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Search Results for: Oscar D' León

ISM: Fanny Almanera better known as La Sonera del Callao

On this occasion we have the opportunity to interview the Peruvian Sonera called Fanny Almanera also known as La Sonera del Callao, her nickname comes from her native country El Callao, Peru.

She was born on January 23 and is the 9th daughter of her parents (Don Héctor Almenara and Carmen Barreto), from a very young age she knew and learned many things about the music of both parents; in the lyrical genre thanks to his mother and his best teacher Dona Ana María Parodi and with respect to his father who is / was a collector of the best exponents of Salsa (especially Cuban and Puerto Rican music), both listened almost all the time to Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, among others.

When she turned 16, she realized that she was passionately and in love with the dynamic salsa genre and made the decision to leave the choir and classical music, since her love and her taste is for the salsa musical, thanking her father greatly for showing her , show him and listen to the best collection of salsa music to date … “Music is like medicine … it fills the soul and innovates over time” and over time, while gaining his experience, his own audience would give him their nickname La Sonera del Callao and with the favor of God take his parents, especially his father, to Cuba.

Tribute to Omara Portuondo Living Legend of Cuba
Memory of the brave Sonero Cano

She also had the honor of participating for the first time in the choir to Junior Gonzales and alternate Grandes with Peruvian Orchestra such as Peru Salsa by Beto Villena, Las Estrellas de la Maquina by Boris Gomez, La Nueva Generación by Franco Covetto, during that time chosen as the best nobel voice of the salsa genre for the 80s; and at the same time he made several recordings for different groups, likewise he recorded an unpublished song of his own entitled “Yo Te Espero”.

Unlike other musicians, Fanny Almanera during this season met and currently has friends of renowned musicians, who interacted with her and her family, even before becoming a singer.

Memory of Ray Barreto and singing Adalberto Santiago de Fannia
Ray Barreto and singing Adalberto Santiago de Fannia

Between the 70s and 80s, Las Leyendas Latinas arrived in Peru with Ray Barreto and Adalberto Santiago, who gave him the great opportunity to sing with them “Quitate La Máscara”, then with Linda Caballero (La India), the song “Mi Primera Rumba ”, Then with the salsa pharaoh Oscar de León with the song“ Toro Mata ”and also with the great Lebrón Brothers with the song“ Sin Negro no hay Guaguancó ”. With the Owner of the Soneo Carlos “El Cano” ESTREMERA the song “Amame en Camara Lenta”, with Frankie Vazquez “El Cuarto de Tula”, with Yolanda Rivera the song “Rumba en el Patio”, Vity Ruiz brother of Frankie Ruiz the song “La Cura”, with Aldalbeto Santiago on the song “Nadie se Salva de la Rumba”.

In all these golden opportunities, he managed to ask her many questions to perfect her singing, including knowing more about how to rhyme the phrases and after a while with her imposing voice, Fanny captured the attention of the greats of salsa, representing Callao and for which the Chalaco people named it “La Sonera Del Callao”.

Souvenir of Linda Caballero best known India and Fanny La Sonera del Callao
Singing with Linda Caballero, the best known India and Fanny La Sonera del Callao

She tells us that she is very happy with this great experience acquired, especially that she met many internationally recognized artists, many met them in person and others thanks to social networks, expressed by many who have a very beautiful voice, which is why she sang many songs musical expressing that at the time of singing he likes it because it is his passion with all his steps (vocalization, expression, movement).

During the Covid-19 pandemic it affected her like the rest of the world, in her case the recordings of her musical themes could not be made as before since the recording studio did not work as before, she had to sing with a smaller group of people, they couldn’t get together to practice; Although he was on a halt due to the pandemic, he was able to record a challenger “El Virus Se Mata Con Musica”, invited by a Cuban musician which was also recorded by Cuban artists, which was successful as it was heard in different parts of the world.

Thank God, despite all the complications that arose regarding her musical career, she achieved many things during this pandemic and also remained active thanks to social networks and is currently activating social activities in clubs, where They work in small groups live or online.

Fanny Almenara, continues with her impeccable musical career, loving music and recording a song entitled “Amor de mis Amores”, a salsa version with the Orquesta NG del Callao Director Franco Crovetto.

For her vast artistic career, she was awarded by different musical associations and by the company Pinsen Callao, Asocosalsa Peru (Ceremony Tite Curet, Busto Hector Lavoe, Charlie Palmieri and 25 Anniversary of Artistic Life (Okonkolo Association) and a few days ago she received the award The Miami Radio Salsa Superior Award Director Richard Roman (“La Dama De La Salsa” Award)

Fanny La Sonera del Callao 2021
Fanny La Sonera del Callao the Los Award award from Radio Salsa Superior of Miami Director Richard Roman

After his voice reached Cuban pages like the page “Benny More”, “Un Millón De Adalsoneros” and “Al Son Del Pinar Del Rio” She was invited to the day of Son 8 de mayo led by the gentleman of son Adalberto Álvarez, later I also record a song authored by the Reyna del merengue Milly Quezada “Gracias A Ti” dedicated to those who are always in the front line such as doctors and nurses in Covid 19 and the latest that the production of the song La Sitiera Tributo has recorded to the Cuban diva Omara Portuondo in which Nelson Gonzales participated in the tres, Eddie Montalvo on the congas, Nohelia Zambrano from Colombia on the violin and Luis Perico Ortiz on the Trumpet

For more information:

  • Tik Tok: @fannyalmenara

Daniel Peña Grammy Winner 2012 and his new album entitled “Traigo Melao”.

 “Traigo Melao” his third and most recent production

The 2012 Grammy® winner and Dominican Percussionist based in Miami, Daniel Peña brings back a dream team for his new album titled “Traigo Melao” in a remastered and limited edition production available today on all digital platforms.

Daniel Peña “Traigo Melao”
The Grammy® winner in 2012

It is an album that contains 9 songs, it is very special for me, not only because of the musicians and singers that accompany me, but also because it includes important songs in my life such as ‘Lirio de los Lirios’ where there is a version played by my dad on acoustic accordion, remembering my childhood when he played it for me and my brothers, but there is also another version of this same song played by Bobby Cruz as a tribute to my father” expressed emotionally Daniel Peña who presents his third studio production.

This album was masterfully interpreted by artists Ismael Miranda, Meñique, Raulin Rosendo, Hector “Pichie” Perez, Odilio Gonzalez, Paquito Guzman, Bobby Cruz, José Alberto El Canario.

Ismael Miranda y Daniel Peña
Ismael Miranda y Daniel Peña

Among the top musicians that “Traigo Melao” includes along with its producer and percussionist Daniel Peña, Charlie “Bongo” Santiago, Charlie Sierra, Eddie Montalvo, Sammy García, Tito de Gracia, William “Kachiro” Thompson, Gamalier Reyes, José Madera, John “Dandy” Rodriguez Jr. and Juan Pablo Romero on percussion, while David Irrizary, Diego Giraldo, José Manuel Gutierrez, Johnny Silva, Gamalier Reyes, Jesús “Gumby” Navedo, León Cheva, José Arroyo, Paquito Gúzman and Cheito Quiñonez on backing vocals.

On piano were Gilberto “El Pulpo” Colón, Ricky González, Luis Marin, Óscar Hernández, Richie Ray, Andy Guzman, Carlos Infante and Antulio Mora, while on trumpets were Julián Cifuentes, Carlos De León, Dante Vargas, Ivan Alejandro Odio, Luis “Papo” Marquez and on trombones were Reynaldo Jorge, Daniel López, Alexander Zapata and José Berrios.

Also playing bass on the songs were the talented Salvador Cuevas, Maximo Rodriguez, Luis Rodriguez, Ramses Colon, Pedrito Pérez, Sergio Munera, José R. Santiago and José Velázquez.

First Class Percussionists Jimmie Morales (R.I.P), Richie Bastar and Daniel Peña
Jimmie Morales (R.I.P), Richie Bastar y Daniel Peña

The album featured mixing and mastering by Victor “Sonny” Hernandez, acoustic guitar by Rigo Irizarry, violins and string arrangement by Gerardo Aguillon, tres by Nelson Gonzalez, accordion by Maricarmen Vazquez and saxophones by Jose Heredia, Luis Disla and Ismael Vergara.

Daniel Peña is a Dominican producer and percussionist who began his musical career at an early age. During the course of his career he has had the opportunity to record with countless renowned singers and musicians such as: Ismael Miranda, Richie Ray and Bobby Cruz, Jose Alberto “El Canario”, Paquito Guzman, Tito Allen, Larry Harlow, Nicky Marrero, Oscar Hernandez, Willy Rosario among others.

In 2014 he presented his first album titled “Eleven” and in 2017 his second musical project titled “Sancocho” with which he obtained great reviews from the music industry for its quality and high care…

Daniel Peña
in 2017 his second musical project titled “Sancocho”

He was a 2012 Grammy® winner and is part of the Remo family featuring his custom congas courtesy of Remo. He is also endorsed by Vic Firth, Soultone Cymbals and Jorg Gray.

Source:

WebSite: Daniel Peña

Official Release https://www.notaoficial.com/s/2021/06/08/daniel-pena-presenta-traigo-melao/

Daniel Peña y El Rey del Bajo Bobby Valentin
Daniel Peña y El Rey del Bajo Bobby Valentin

By: Diana Marie Miami Correspondent for International Salsa Magazine.

Article of Interest: Roniel Alfonso Mella Music Producer, Orchestrator, Composer and Instrumentalist

Salsa Superior
Salsa Superior Award
Diana Marie
Lady of Salsa 2021

International Salsa Magazine

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Alfredo Villamizar Alfredo Villamizar one of the most spectacular and sensational Venezuelan percussionists

On this occasion it is appropriate to honor in our salsa column one of the most spectacular and sensational Venezuelan percussionists, Alfredo Villamizar, born in Caracas on August 2nd.

Welcome maestro Alfredo to “Salsa Escrita” and International Salsa Magazine, www.SalsaGoogle.com, it is a pleasure to have you as our special guest.

Thank you Professor Carlos, for inviting me to your renowned salsa tribune for all Venezuelans who are in my country and also for those of us who are currently abroad.

Well, let me tell you that for me it is already a commitment to support musicians who make Afro-Caribbean music and you in particular Alfredito, you could not miss this appointment with regular readers; now, tell us how did you get started in Latin music? I started with the orchestra “Renovación” of Nico Monterola, whom I consider my teacher, I continued acquiring knowledge in the timbal with Alfredo Padilla and I learned with Alfredo Franchesky (Cutuflá).

Alfredo Villamizar I started with Nico Monterola's orchestra "Renovación".
Alfredo Villamizar, born in Caracas on August 2

Alfredo, you are considered one of the timbaleros with a high level technique in the rhythmic execution of this instrument and you are catalogued as one of the best worldwide; let’s see, tell us with which orchestras have you participated? My friend Carlos, I can mention among many others the Oscar D’León Orchestra, Evio Dimarzo’s Adrenalina Caribe, Hildemaro’s Orchestra, Nico Monterola’s Renovación Orchestra, Andy Durán’s Orchestra, Erick Franchesky’s Orchestra and Urbanda de los Hidalgo, among others.

Excellent Alfredo, and at the international level, who have you accompanied? I have accompanied Celia Cruz in Spain, as well as Papo Rivera and Alex de Castro in Venezuela.

By the way, Alfredo, I understand that you have composed some songs. Indeed, my friend Colmenárez, the songs I have composed are: Malditos celos, El brujo Pincumpán, Canto a la vida, Luna llena; which are included in a production recorded in 2005 and also of my authorship stands out the theme “Allá va el lobo” of the collection “Venezuela Demo 2”, vocalizing Aníbal Vegas.

Let me tell you professor Carlos, that I have dictated workshops and clinics of timbal, in the 23 de Enero de Caracas and in the Mamera Keyboard Museum, next to the teachers Edgardo Morales and Alberto Borregales. Currently, since 2017, I am based in Chile, performing various activities and hoping very soon to return to Venezuela, God willing.

his compositions are: Malditos celos, El brujo Pincumpán, Canto a la vida, Luna llena, El brujo Pincumpán.
Alfredo is considered one of the timbaleros with a high level of technique.

Alfredo, for me it is a great satisfaction to have you in Salsa Escrita, because I have always followed your career and your way of playing the rhythm with the drumsticks in the pailas. Finally, we would like to give us your digital platforms and a farewell message.

Very well professor Carlos Colmenárez, thank you for your good concepts towards me, you can contact me by email: [email protected] and on Facebook: Alfredo Villamizar. Thank you very much professor for allowing me to interact through the Barquisimeto salsa column, as it is “Salsa Escrita”, which I think should be called with your permission “La Columna Salsera de Venezuela”, for the support you give us all the salseros of my beloved country. Blessings and keep it up, Professor Carlos.

By: Carlos Colmenárez Correspondent in Venezuela

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From Aruba and for the World Anoushca Jeandor Noush and Robert Jeandor

It is for me more than a pleasure and great honor to make this release of this song “Me Muero” taken to the rhythm of Merengue. Originally from the 5th Station.

Noush was born in Aruba as Anoushca Jeandor.

Being daughter of the International singer musician Robert Jeandor, she was raised in a musical environment, during her early years she started singing in a choir until beyond her teenage years, after that she was given the opportunity to perform in a local casino as a singer.

She became more popular when she won one of the biggest Carnival Music Contest, which made her the first female overall winner. She has also performed in the Netherlands and Miami.

What started as a hobby, turned into a passion, and is nowadays her living, singing different genres as R&B, Reggae, House and Latin.

From Aruba Anoushca Jeandor Noush
From Aruba Anoushca Jeandor Noush

I thank Jaime Querol, producer/arranger for his excellent musical work. Thanks to you from SalsaGoogle.com (ISM) for this opportunity.

And there will be many more.

I am a singer since my childhood. I come from a musical family. My dad’s name is Robert Jeandor.

My father worked with great musicians, he was invited by Johnny Ventura to go to the Dominican Republic to live, where he worked daily with hundreds of renowned musicians such as Juan Luis Guerra, Wilfrido Vargaz, Alex Bueno, Manuel Tejada, Jaime Querol, Ramon Orlando and many more.

I am a singer by profession, I have several productions of my own in different genres.

Today I launch myself with a musical theme that thanks to Mr. Jaime Querol for his invitation to make an international production withmy father.

Noush was born in Aruba as Anoushca Jeandor
Noush was born in Aruba as Anoushca Jeandor

This beautiful song in merengue version is for you and I hope that this to your liking Thank you very much and God bless you all.

Follow me:

https://linktr.ee/noushmusicaruba

Robert Jeandor and his Solo Banda Show

A live music band from Aruba founded by the famous Aruban musician Robert Jeandor. Known for playing different genres of music, but mostly Latin music.

Without a doubt, maestro Robert Jeand’or is the most Dominican Aruban we have ever known.

Since he settled in the Dominican Republic, where he arrived thanks to the efforts of a giant of merengue, Johnny Ventura, this singer, musician, arranger, composer, music producer and orchestra leader only made contributions to the rhythm commanded by the güira and the tambora and the one that best identifies the idiosyncrasy of the Dominicans.

Without a doubt, maestro Robert Jeand'or is the most Dominican Aruban we have ever known. Since he settled in the Dominican Republic, where he arrived thanks to the efforts of a giant of merengue, Johnny Ventura, this singer, musician, arranger, composer, music producer and orchestra leader only made contributions to the rhythm commanded by the güira and the tambora and the one that best identifies the idiosyncrasy of the Dominicans
Robert Jeandor and his Solo Band Show

Always gentle, humble and with a soul devoid of pettiness, this gentlemanly artist put his talent at the service of merengue and, therefore, of all the gear that drives it.

Robert Hubert JeanD’or Bermudez was born on May 10, 1954, in Aruba, a territory that until 1986 was part of the Netherlands Antilles and today is part of the Kingdom of the Netherlands. He was the son of Francisco Reinier JeanD’or from Curazaleño and Cecilia Bermudez from Aruba, who worked in the Aruban aqueduct and hospital, respectively. Don Francisco died in 1972 and Doña Cecilia in 2005.

Notice that I have written JeanD’or and not Jeand’or, because the first is the correct surname of this family, but for artistic management purposes Robert was given Jeand’or. And lucky he was that they did not remove the apostrophe and left it only as Jeandor!

His inclination for music came from his father, who guided him when Robert took his first steps in musical studies.

“My dad was my first music teacher: he wrote down for me all the chords in a notebook and there, when I was barely six years old, I started learning to play the Venezuelan cuatro and, after some time, the guitar,” he recalled.

But it was not only in Robert’s veins that musical talent ran, but also in his siblings Francisco (Frank), who played guitar and mandolin, Marlene and Percey were equally talented guitarists, Robertina and John sang, Ismael was a trumpet player and Michael was a percussionist. Several of Robert’s siblings are now deceased: Ismael and Sofia (2010), Frank (2013) and John (2014).

In the neighborhood where he was born, called Madiki, he could very often see his brothers playing almost every night, together, as a family, with his dad leading, and so he was caught by the desire to join the family clan as a musician and that led him soon after to play the guitar.

“One night my brother Frank came home and told me that there was an aguinaldo group that needed a cuatrista to reinforce. The group was called Las Blancas Palomitas and was led by Severiano Luidens, with his relatives Evelien and Jossy Luidens also standing out,” recounted Robert Jeand’or, who was only eight years old at the time and, bursting into laughter, added that the only negrito was him.

He told that his relationship with the bass happened in a fortuitous way, because during a presentation of the group the bass player did not show up, due to lack of transportation, and then Robert, being a child of about nine or ten years old, assumed to play the powerful string instrument and solved the problem generated by the absence of the titular instrumentalist.

“I grabbed the bass, without ever having played it before and as the strings are tuned in the same order as the guitar, I said I was going to play it and so I played that night and that’s how I started to play it and to this day it is my greatest pleasure,” he recalled.

The lanky artist said that he entered a music academy to study bass and singing, being instructed in both subjects by the now extinct Aruban professor Rufo Odor and in harmony with the also deceased Argentinean professor Eddy Bennet.

In his youth and as a cuatro player and singer, he briefly played with pianist Albert Dieffenthaler, with whom he performed in several television programs, hotels and bars.

In the early 70’s, he joined Los Juveniles, which was the first orchestra where he participated as bassist, singer, composer and arranger. With this group, with which he became famous in his native land, he won in three consecutive years (from 1976 to 1978) the Tumba award, an annual celebration that is part of the carnivals of Aruba. Incidentally, Jeand’or would later win this award again two years in a row (1990 and 1991).

In 1978 Robert Jeand’or was crowned King of Tumba, after performing the song “Bolombonchi”, authored by Vicente Kelly, Victor Oduber and Jeand’or himself, which was later recorded by popular Colombian artist Joe Arroyo, who died in 2016. That impactful performance was seen by Johnny Ventura, who also performed there with his orchestra and El Caballo Mayor approached the Aruban singer to see if he would be interested in trying his luck abroad.

While that experience unfolded, Jeand’or did not stop his desire to add to his musical knowledge and expand the knowledge he already possessed in harmony and composition.

His inclination for music came from his father, who guided him when Robert took his first steps in musical studies.
Without a doubt, maestro Robert Jeand’or is the most Dominican Aruban we have ever known.

In the first five years of the 70’s, he released his first recording, composed and arranged by the artist himself: “Ta di nos e ta”, a phrase that translated into Spanish means “It’s ours”.

During 1979 he released with his orchestra La Nueva Fuerza the musical production entitled Rey Di Tumba 1976-77-78, recorded in his native island and with the support of Aruba Recording Studio, where he experimented with Latin, folk and country genres, giving us songs such as “Ban bonse”, “Ata mi cos”, “Manera un wiei”, “Slip’e”, “Bolombonchi”, “Pusha bai aden”, “M’y yega”, and “Canta cu mi awor”.

Many people don’t know that Robert Jeand’or was just a few minutes away from joining the Gran Combo de Puerto Rico, after the departure of Andy Montañez. Jeand’or took the stage with La Universidad de la Salsa, during a presentation at the Caiquetio club, and performed “El barbero loco”, “Las hojas blancas”, “Pin pin pin” and other songs that Montañez vocalized. His voice impressed Don Rafael Ithier and the staff of the famous group. After Montañez moved on to La Dimensión Latina, Ventura called maestro Ithier and recommended Jeand’or to fill the position of El Niño de Tras Talleres, to which Ithier replied that yes, he knew him, but he had already recruited Jerry Rivas. It is said that there was also a delay with the American visa.

It was not long before Jeand’or became part of La Dimensión Latina, because both when Oscar de León left this orchestra and when Andy Montañez also left, the name of the Arubeño was mentioned to join this Venezuelan group. In fact, they went to look for him where he worked, but he was already in Santo Domingo with Los Hijos del Rey.

Likewise, during a visit of Larry Harlow to the island of Aruba, El Judío Maravilloso saw Jeand’or singing and told Vicente Kelly, recently deceased this year (2020) and compadre of the popular singer, bassist and arranger, that he would take the Aruban singer to New York, because he needed someone to fill the void left in his orchestra by Junior González (who died on May 10, 2012) and Kelly responded positively, but that promise was never fulfilled.

In the midst of all that, the Aruban artist opted to join the Los Hijos del Rey orchestra in 1979 and settle in Santo Domingo.

Robert Hubert JeanD'or Bermudez was born on May 10, 1954.
Robert Hubert JeanD’or Bermudez was born on May 10, 1954.

“It was Johnny Ventura who talked to me so that I could travel to the Dominican Republic as a musician, and getting there was a great experience. Once in the Dominican capital, the first recording I made was for a commercial and the person who called me for that job was a very respected musician, his name is Jorge Taveras,” he said.

With Los Hijos del Rey, an orchestra then led by maestro Dioni Fernández, he recorded merengues such as the emblematic “Yo me dominicanizo”, by the prolific Puerto Rican composer Catalino Curet Alonso, affectionately known as Tite, “La pilandera” and “La vacuna”, by Porfirio Ruiz, among others, as well as the salsas “El viento”, by Joe Nicolás, and the successful “Puchula”, by Ramoncito Díaz.

While he was performing in Puerto Rico with Los Hijos del Rey, an orchestra that was in conflict with another faction for the use of the name, Jeand’or, who in the middle of that was in a kind of limbo, received a call from composer Curet Alonso (died in 2003), who mediated for him to sing with Roberto Roena & Apollo Sound, and the artist told him that he would think about it because he had to talk first with Ventura, who has always been his advisor.

Another situation that put Jeand’or on the verge of joining a salsa orchestra: in the middle of a tour in Puerto Rico, trumpeter Nelson García, of Los Hijos del Rey, talked to maestro Bobby Valentín to include the arubeño in his orchestra and the Puerto Rican star liked the singer’s voice very much, but then he had Cano Estremera as his star sonero and everything came to nothing.

Source:

Facebook: RobertJeandor

Diario Digital Dominicano

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Freddy Sánchez one of the musicians with the greatest trajectory and hierarchy in Venezuela

In 1994, he participated for the first time in a group called “Sentir Caribeño”, from Mariara, Carabobo State.

Greetings my salsa people, here again with you, wishing you the best. First of all, lots of health, prosperity and optimism from your friend professor MSc. Carlos Colmenárez, who, through International Salsa Magazine and www.SalsaGoogle.com, presents you in this opportunity to: Freddy Sanchez bastion of this genre that we are so passionate about, for your delight Enjoy them.

“You must always remember that to be a good musician you have to maintain three fundamental elements, such as: discipline, responsibility and respect … Many do not understand that.”

These recommendations come from perhaps one of the musicians with the greatest trajectory and hierarchy in Venezuela, such as: Freddy Alí Sánchez Carvallo, born on November 9, with his musical beginnings at 15 years of age.

In 1994, he participated for the first time in a group called “Sentir Caribeño”, from Mariara, Carabobo state, playing bass; He continued his musical career with the “Mangüe” orchestra of Maracay, Aragua state and from there he went to the “Alteración” orchestra, then to the Sonostars de Mañito Junior, having the privilege of accompanying Yolandita Rivera and Luigi Texidor.

Freddy Sanchez bastion of this genre that we are so passionate about.
Freddy Sanchez one of the musicians with the greatest trajectory and hierarchy in Venezuela.

In 1999, he was called by the “Latin Dimension”, remaining in it for about 6 years.

At the same time, at the beginning of 2000, he participated in the orchestras of: Hildemaro, Erick Franchesky, Magia Caribeña, Puerto Rico es Salsa, Pasión Juvenil, Porfi Jiménez and Francisco Pacheco y la Pueblo de el.

Freddy, have you accompanied international artists?

Of course, Professor Carlos, thank God I have had the honor of playing for: Andy Montañez, Henry Fiol, Junior González, Domingo Quiñónez, José Alberto “El Canario”, Ismael Miranda, Adalberto Santiago, Wichy Camacho, Tony Vega, Willie González , Tito Gómez, Cano Estremera, Pedro Arroyo, Gabino Pampini, among others.

And I understand that you directed the career of Venezuelan musicians?

That’s right, my friend, I was the manager of Jimmy “El León” until 2005, when I joined the Oscar D’León orchestra “El Sonero del Mundo”, until 2013, visiting more than 32 countries.

And “Son Colón”?

Professor Carlos, in 2010, I founded “La Orquesta Son Colón”, with which I have accompanied figures such as: Joseph Amado, Rodrigo Mendoza, Hildemaro, Erick Franchesky, Paquito Barón, Néstor Rivero, Oscar Arriaga, Wílmer Lozano, Frederick El Coco, Wílmer Cano, Éukaris, Wiwi Buznego and Mariana “La Sonera de Venezuela”.

told us that the second production of the "Orquesta Son Colón" is well underway and that the promotional "El Monstruo de la Calle
“The Son Colón Orchestra”. Founded in 2010

It should be noted that Freddy Sánchez is currently the musical director of the “Orquesta de Porfi Jiménez” and also tells us that in 2019, he participated with the orchestras “Los Melódicos” and “Billos Caracas Boys Internacional” of Amable Frómeta.

–Master Freddy, honestly, let me congratulate you for this trajectory that you have.

Apart from being a bass player, do you stand out with other instruments?

In addition to being a performing bassist, both for the baby and the chest, I am also a trombonist, arranger, director and music producer.

In Colombia I directed “La Sonora Matancera Internacional Siglo XXI” and I had the great experience, being very young, of accompanying, when I was only 21 years old, the legend of the Venezuelan salsa, Orlando José Castillo “Watussi”.

Likewise, I formed the staff of “Albóndiga y la Pandilla de él, being the arranger of some of his songs together with David González and where Gustavo Gerardo and Rodrigo Mendoza vocalized.

-Freddy, from what you have told us, your career is quite broad, what can you add to us? Ok teacher, I’m remembering that I was also in the ranks of “Osuna Banda Show” and “La Bigband de San Agustín”.

Now, Freddy, where did you acquire your musical knowledge and of course your studies?

My friend, I practically studied alone. My uncle Elías Sánchez taught me the figures and I went that way, my story is very particular, my father showed me the bass notes and how it was played, since he is a guitarist, also my relatives, most of them are musicians and being next to of the braves of the time, I was learning and trying to get a sound out of the bass, but I never had a teacher, or anything ”.

Freddy told us that at 17 years of age he had already made his first musical arrangement and by asking Mañito Junior, he learned what harmony was; with the musician Pastor Rodríguez (Q.E.P.D.), regarding the reading of sheet music and with the teacher Gilberto Riera, also deceased, he explained to her how he should maintain the swing when there were percussion solos.

Oh and another musician, known as “Lopecito”, recommended that it is necessary to listen to music, because everything is not reading, but you had to read. Regarding the future projects of today’s guest in “Salsa Escrita”, through International Salsa Magazine, he told us that the second production of the “Orquesta Son Colón” is well advanced and the promotional “El Monstruo de la Calle ”, ”, Is already playing on radio stations and additionally on this album, national artists will be recording as special guests.

Likewise, “La Orquesta Son Colón” will be accompanying vocalist Joseph Amado again in 2020, in his second symphonic concert at the Teresa Carreño Theater in Caracas, in the middle of the year.

"I would like to say to musicians who are starting out in these times, never forget where you came from and what you were, and keep humility first and foremost.
Willie Colon “El Malo del Bronx y Freddy Sánchez

Finally, we asked Freddy Sánchez for some recommendations, as well as those made at the beginning of this review, for the new generations and he literally told us: “I would like to tell the musicians who are starting in these times, never forget where they came from and what that they were, and keep humility above all else, always thanking the opportunities given and do not forget that music is not a competition, because there is always someone who can be beyond you today and here tomorrow ”.

Finally, we would also like to add the following: “music must be learned daily, as it is an infinite world much adored and which is part of our lives.”

Humility and perseverance will make us great in every way. Congratulations Freddy Sánchez and we hope you continue to achieve success, inside and outside our country with your master’s degree.

Facebook: Freddy Sánchez 

By: Carlos Colmenárez Correspondent in Venezuela

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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.