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Yma América

Yma América “Every time I go out to play, to sing, I show my training and above all I put the name of Venezuela up and without speaking much.”

Yma América, she reaffirms that; We have done a good job, making our Latin music and culture known.

The trace that many Venezuelan artists, who have decided to settle abroad, are leaving behind is passing through the world, because they distinguish themselves by their achievements and place the name of Venezuela in a big way, making their fellow citizens proud of their successes, such is the case of Yma América Martínez, born in Caracas and based in Germany for almost 30 years.

With a musical vein that he inherited from his parents who points us out, they were the fundamental pillar in his training and career, and why not, for having grown up in one of the most musical parishes in Caracas, the San Agustín del Sur neighborhood, Marín sector, from where great characters have come out including his uncle the choreographer and dancer Carlos Enrique Orta (+), who traveled with his dance company, “Coreoarte” great stages throughout the world.

His musical beginnings were with a group created by his father “Los group created by his father “Los Azulitos Juveniles” where he sang aguinaldos with his sisters and neighbors, and then entered the San Agustín Choir at Don Pedro School “Fe y Alegría”.

(Yma América) She received her academic preparation at the “José Ángel Lamas” School of Music and the “Simón Bolívar” National and Youth Orchestra, to continue her cello studies in Paris at the “Ecole Normale de Musique de Paris” and song and composition at the CODARTS of the World Conservatory of Music in Rotterdam.

Yma América is a singer, musician, songwriter, arranger, plays the violoncello and the cuatro. It’s clear and powerful voice makes it very popular throughout Europe. He has worked with different groups; Kimbiza, Latin Sampling, Francisco Zumaqué, Connecting Latina, Mirta & The Goalgetters, Duo Ymaya, Cubop City Big Band, among others. He has participated in major jazz and classical music festivals, such as the Ruhr Guitar Festival, the North Sea Jazz Festival, the RuhrTriennale, the MusikTriennale Köln and the Elblandfestspiele. In 2004 his record made her the winner of the international competition “Voice and Guitar” in Saarbrücken – Germany, obtaining the first prize with the Colombian guitarist Andrés Mendoza Villamil.

Another relevant fact in the life of this artist can be seen in the song “Play it”, a song that he composed and sang for the commercial of the Bacardi company, which became a success in the summer of 1998 and 2000. He participated in the musical “King of The Lions” with WDR Big Band in the main role of Lilipuz’s children’s concert “Die schlaue Mama Sambona”; and has performed more than 30 times with the production “Adventure Weltumrundung” of the Fly & Help Foundation.

She has on her shoulders the responsibility of a great project that he has in Germany and wishes to perform in his native country, to make music with percussion for deaf people called “FEEL SOUNDS”, due to this proposal in 2010 he was awarded La Disability Policy of the Cologne Innovation Award (KIB).

He assures us that; “The language of music is the same throughout the planet,” with this phrase we enter to discover the virtues, dreams and desires of the interviewee.

How is Yma América defined?

“It is not easy to answer this, but I think I am a very patient and calm person, I would say too much. I do not give myself a bad life, fortunately I have done what I wanted, thanks to the support of my parents and family in general”. “I am a character who, thanks to the gods, things and opportunities have been offered to me, some have taken advantage of them, some have not, there are some that I have not realized in time that they have been there waiting for me and I have lost.

But I can say that I have lived my life, with the ups, downs, good and bad, without involving anyone and thus I have been leading and learning.”

Part of his training was obtained through the Conservatory of Music “José Ángel Lamas” and the National and Youth Orchestra “Simón Bolívar”

What do you thank and how he gives back his training with them?

“I thank you for part of my training as the musician that I am, because the other part I owe to my family and my people where I come from.” “-Retribute-“, I think that every time I go out to play, to sing, I show my training and above all I put the name of Venezuela up and without speaking much”.

What do you think of the phrase “Nobody is a Prophet in his Land”?

“-Sincerely do not know what you mean-“. “I don’t think I would have started singing professionally if I had stayed in Venezuela. I was quiet there, I played Violoncello in the National and Youth Orchestra of Venezuela, I played and made substitutions for cellists in the Philharmonic Orchestra of Venezuela and in the Municipal Orchestra of Caracas, I sang solo of vacilón in each party and family celebration, and Actually I was very calm in my house. ”

“I don’t think I’m a” prophet “where I am, I always do my best and people value it and often criticize it, of course.”

Why did you choose Germany and not another Latin American country? How many years have you lived in German Colony?

“I left Caracas in 1986 to Paris-France, thanks to my grandmother working in a wealthy family home and they offered to help a family member to study abroad, specifically in France because they had relatives there. First my uncle Carlos Enrique Orta – Choreographer-dancer with a lot of international professional career – left, many years before and then I wanted to “take the floor” after a while ”.

“Actually I wanted to study violoncello for 1 year in Paris and return to Venezuela, but at the end of my 1st year of study at the “Ècolle Normale de Musique de Paris”, they offered me to stay and I did not refuse. The last year of studies in Paris I did not have much money to live and in Köln-Germany lived the musicians of ‘COREOARTE’ (Dance company created by my uncle Carlos Enrique Orta with dancers and musicians of San Agustín), at that time I was leaving every weekend, on Fridays after school, from Paris to Köln and I returned on Monday at 6 am and arrived directly to classes in the afternoon.

I did that because we played; Renis Mendoza, Felipe “Mandingo” Rengifo, Charles Peñalver, Orlando “El Diablo” Blanco and I was in the street to collect some money and brighten the streets and faces of the Germans, and with that I could buy food for the whole week in Paris until the following Friday that I was returning to Köln … and so for many months until after finishing my studies, I decided to move to Köln and the first months I lived at the home of Renis Mendoza who shared his apartment with another ‘Coreoarte’ boy and then I got my room sharing an apartment with a German girl. ”

“I lived first in Paris from 1986 to 1990, 4 years and from 1990 to the present day in Köln, next year I am 30 years old based in Germany, I say “I have my bed in Köln “, because in reality I am almost never in my home, thanks to the music and the life that has given me so much ”

“I never thought, nor have I imagined living in another country in Latin America, I think that from here, I’m going to my house … Pa ‘Venezuela (to Venezuela)!”

How has been the receptivity of the German public with Latin rhythms, there was no resistance?

“At this moment there is a stagnation in the development of activities with Latin music, but in the same way there is more and more receptivity, I know we have done a good job, making our Latin music and culture known, there are several Salsa bands with German musicians, there are more and more dancers, more dance classes, many have understood the message and others interpret it to its wave but there is a lot of atmosphere and places with Latin music, with Dj of Salsa-Merengue and the crap they call Reggaeton music”.

“I must say that some years ago there were more Salsa orchestras with German musicians and there were more Salsa Festivals that unfortunately has been reduced by the phenomenon” Salsa Dj “I think and I am almost certain, because it is cheaper and people dance the same. That has done a lot of damage to live music. ”

What memories do you have of being under the baton of these great maestro Abreu, Aldermaro Romero, Carlos Riazuelo and Yehudi Menuhin?

“I don’t really remember at this moment any particular experience or directly with them. Although I had more contact with José Antonio Abreu, the experience was the same as with many of the ONJV members. But of all of them, the security with which they could dominate and control the amount of musicians an Orchestra has, and especially that in style and classical pieces, the feeling that is transmitted is that of the conductor and not that of the conductor musician or performer. Of course they were wonderful experiences. ”

How many compositions have you performed?

“Honestly, not many, about 12 but arrangements have been made, played and recorded, only 4.”

Your parents have been promoters of your career, how do you thank them?

-Chacha! –

“My parents are the reason for my profession, from them is that this Yma America that you are interviewing for my work has come out. Thanks to their way of being, their offspring, their education, I thank them for what I am and what I have done … My life. ”

Are you constantly growing anecdotes of your time at the “Normal School of Music in Paris” and the “Conservatory of World Music”?

“In Paris, I think, having to change the mentality of learning everything little by little and without hurry like in Venezuela, to the need to charge the “batteries” because here they do not wait, I have to go for it and comply daily, in addition to that that impelled me to learn the French language faster ”.

“And in Holland, going from being a student to being the singer of the Cubop City Big Band of the Prof. of the conservatory Martin Verdonk (percussion), Leslie López (bassist) and directed by the drummer Prof. Lucas van Merkwijk that was strong, especially at the beginning that it was to understand how they interpreted Latin music that is something other than Latin Jazz, there we started with Mambo of one, and as Leslie López was the bassist of Puerto Rico there was a balance and there we were learning and obtaining experiences all alike. ”

How do you feel about working alongside the Dutch percussionist and producer Lucas Van Merwijk and being the vocalist of the hit band “Cubop City Big Band”?

-Chévere! – assures us

“Working with Lucas and with those wonderful musicians, people with an extraordinary musical level, is very relaxed, zero stress, there we have all learned, failures and successes have gone hand in hand with everyone. Next year (2020), with CUBOP CITY Big Band we will be 25 years old together and surely something good will be done, something wonderful is being cooked, with maestro Edy Martínez – Colombian pianist, composer and arranger -, of course, also thanks to the Lucas’s wife, Roosje who does a great job, is the organizer/ manager of that crowd and all the tours. ”

Have you surrounded yourself and trained with musicians who, due to their quality and career, are considered the best, what do you think you still have to do?

“I have done and learned many things from life, both personally and musically, I believe and I know that I am missing a lot, now I have to do and learn.”

Hasn’t language been an obstacle?

“No, musically speaking, no, the language of music is the same on the entire planet.” “The French language I had to learn quickly because I came from Venezuela directly to the Conservatory of music, in Holland the classes are in English and I did not have to learn Dutch and the German language has been strong in other daily situations or life in general.”

In which festivals have you participated in both Europe and Venezuela?

– Oh! – “How many exactly I cannot tell you, but in these 30 years living in Germany and making music professionally there have been many, in almost all of Europe.”

There is a project with deaf people in Germany, which we hope can also be carried out in Venezuela. Tell us about that musical project and why did you decide that this topic should be precisely?

“TO FEEL (FEEL) – SOUNDS (SOUNDS), but as my name I put” FEEL SOUNDS “in view of the fact that the sense of touch is much more developed in deaf people and my work is based on making music with percussion, so that the vibration of sound is what they feel. ”

“It is a project that I have had in mind for many years, 1980, when I was studying” Hospitality and Tourism Administration “at the University College of Caracas and doing a field job in San José de Río Chico, at the end of my activity and visiting people, they gave me a party, drums and fulías until dawn, there were 5 drummers, dad and 4 children and in the end dad tells me that one of them was deaf. And the young man played very well, I never imagined he could be deaf, he played perfect and we even danced salsa. And from there I had the idea of working and teaching percussion to the deaf. ”

“After all that time, it was that in one of those turns that gives life, I had the courage and I started studying” German Sign Language “and I planned my workshops, I went to the deaf schools in Köln, many percussionist friends helped me Renis lent me his drums and plays with us each presentation at the end of the workshops, other friends lent me his rehearsal room to teach, my Sign Language teacher supported me looking for money to move on … and so…

This year I will be 10 years of having developed it here in Germany and the experience has been wonderful, every day I learn more and more of that world that I cannot imagine, but seeing everyone’s face when they feel the vibration of the sound when they play a drum – event listeners, people without hearing problems – that feeling is uniquely Fascinating! ”.

Working with children and adults with special conditions is a great challenge. What do you feel when you see that experience come true?

“I feel that I must move on, I have already been invited to several cities in Germany, the Netherlands and Poland and I want to continue doing it, take it to my country and fulfill my desire to develop it there, carry it out, execute it and make it known in my Venezuela.

Although several years ago I attended a conference held by FEVENSOR Federation of the Deaf of Venezuela, with the assistance of several Latin American countries, Spain and Australia, I made an exhibition and presentation of several deaf young people who attended, with the participation and collaboration of Naifer Hernández and Juan Carlos “El Indio”, Betancourt percussionists from San Agustín / Marín, but everything remained there. Of course, I must always be present in order to move forward, it is like that.

I lack the financial support because the program, project, the subjects, the desire, the yearning and the cravings are already there, but I keep moving and insisting, searching and “cursing” until I find the support itself. ”

What new projects are coming?

“We recently started with a new project for the Latin American Music Trio, from Mexico to Argentina, with Prof. Thomas Böttcher, German pianist, Renis Mendoza Venezuelan percussionist, also from San Agustín / Marín and I singing and playing Violoncello, we are in the preparations, making videos, propaganda, looking for program and composing, also in conversations and looking for an agency to sell it and move it forward. The 25th anniversary of Cubop City Big band next year, has finished looking for the musical program for those celebratory concerts. ”

“Continue with my musical project“ FEEL SOUNDS ”, teaching my classes and music workshops to groups of children, youth and deaf adults and from January 1st, start giving talks on this new proposal to students of” Education and Special Pedagogy “to keep moving forward with this and carry it forward until it reaches Venezuela and the entire world. ”

What does the San Agustin parish mean to you?

“It is the neighborhood where I was born, there is all my childhood and adolescence, I love it and I respect its inhabitants very much, besides there is my family whom I love with all my being, there have always been many valuable people, thanks to that work that artists have been doing and all that cultured and fighter generation that lives and has always maintained that training and information contact with the new generations. San Agustín is the good people who live there, the rest is everywhere in the world”.

Venezuela in one word?

“-MUSIC-” in capital letters.

Eiling Blanco Latin America Correspondent

Hansel and Raúl, The Charanga Legend duo

Hansel and Raúl is a charismatic and transgressive Charanga duo of the line of romantic lyrics of the time. They positioned the Cuban “Charanga” rhythm on the top of global popularity, a danceable genre that they imposed on each stage they were invited to and which incorporated their unique Caribbean essence.

This particular duo with three decades of trajectory was born in Miami in 1984 after breaking from the orchestra “Charanga 76”, where they were co-founder members and their main vocalists. With this New York orchestra, born in Brooklyn, they won international recognition and their first Grammy for the album “Encore” in 1978.

Photo of Hansel and Raúl — Hansel and Raúl – The Charanga Legend duo

“Many of the artists who recorded with them during their stay in “Charanga 76” include the renowned pianist – for many years – by Héctor Lavoe, Gilbert Colón and the first Jewish-American flutist woman, Andrea Brachfeld.”

Very pleasant memories come to Hansel‘s mind during this interview, especially his first composition “Si no te encuentras tú” for Charanga 76, his voice took a turn and he showed nostalgia as well as pride in remembering it: “I don’t sit to write a song with a guitar or piano. The Inspiration comes to me alone, there is nothing personal”.

Each anecdote that he tells us is remembered as facts that have led to their musical maturity. Each fun fact has been defined as part of their career, such was the case of the great master, Israel “Cachao” López, who with all his musical wisdom and mastery of his instrument, the Double Bass, taught the rhythmic base to the orchestra. “The conguero and the timbalero even the güirero he taught them to play well. He was a teacher of all, including us who learned a lot from him. R.I.P, he was a glory of music”, Hansel said to us.

But that wasn’t all he told us about the legend of Cuban music, “Cachao”, who was the Double Bassist of the “Charanga 76” orchestra for 12 years, also he told us that every time they wen a tour the “Inventor of Mambo” had them buy a plane seat to his Double Bass, he sat it next to him and even put the belt on the string instrument, as is dictated by airline regulations.

The funniest thing would come later when the Double Bass received the same attention as each member of the orchestra. Amazing! The Double Bass also had its portion of food during each trip as each musician of the orchestra, and when the flight attendant brought it was when the offer was presented by each musician for that fabulous portion, although the end was always the same, the trumpeter won!

Hansel y Raúl - Photo — Hansel y Raúl concert

Photo in concert - Hansel and Raúl — Hansel and Raúl – Photo behind the scenes

Each experience with Charanga 76 made them evolve in music and although with this orchestra they made themselves renowned professionally, as a duo they flew the fence. They have received multiple musical awards, their sympathetic lyrics, and in some cases, satirical or burlesque have won the applause, admiration, and respect of colleagues in the music industry and the general public on three continents: America, Europe, and Asia.

“The Jersey Boys” was their first youth musical group with only 5 members and although the musical instruments they played were the basics of Rock, their rhythmic concept was Cuban music.

“María Teresa y Danilo” was one of the compositions that brought many satisfactions to this duo. Nowadays it’s still preferred by the fanatical public of the genre. Many debates and speculations were made about this song, but here we tell you the true story. “María Teresa y Danilo” dates its beginnings to the 80s when soap operas like “Dallas” were in fashion.

Hansel came up with the idea of diving and writing on this topic. He magically composed the lyric during the plane trip with San Francisco – Miami trajectory and the rest we already know, multiple copies sold, and hundreds of awards granted to them for the feeling that caused this popular theme.

After such overwhelming success as a duo, Hansel and Raúl decides to separate in 1988. What was the reason?

Everyone wanted to make another kind of music. Each one followed a different path, for his part, Hansel recorded five solo albums including metals, more trumpets and trombones, and in three of these albums, he included neither the violin nor the flute, assuming almost completely the end of the Charanga rhythm in his music. However, a short time later he realized that this Caribbean rhythm was what identified with his audience and two years later he joined Raúl again to continue their successful career.

Hansel and Raúl has a total of 330 songs recorded and on December 31 this Charanga duo will have a performance in Los Angeles, CA and you may be lucky and they play your favorite single and if don’t you can ask for it. Classics such as “Soy”, “Se me nota”, “El ayer”, “María Teresa y Danilo”, “Kukucha kucha”, “Balancea mi corazón” (Yordano), “Ojos Verdes” (Alfredo Gutiérrez), among many others, will be present at this 1: 45min show.

Purchase your Tickets quickly before it´s sold out

https://www.facebook.com/events/crown-plaza-hotel-and-casino/new-years-eve-2020-the-great-gatsby-presents-hansel-raul/271515257093512/

We hope to see them there singing each of their hits and if you later travel to New York, don’t be surprised to see Hansel in that city because he and his family will be celebrating their daughter’s sweet sixteen, on the second day of January 2020.

Is Hansel a stage name?

Although some may consider that Hansel is a characteristic name of the children’s story “Hansel and Gretel”, this name comes from Germany and it’s of Jewish origin. Hansel Enrique is the name of this singer and songwriter “Charanguero” and he is named so to differentiate himself from Hansel Horacio (father). In Cuba, the tradition is maintained that every male child must bear the name of his grandfather; this is the reason for all his cousins are called Hansel.

More Details visiting:

http://www.HANSELYRAUL.com

Social Channel:

https://www.facebook.com/pg/HANSELYRAUL/

Stelio Bosch Cabrujas a remarkable musician, but completely forgotten by the new generations

One of the greatest Venezuelan arrangers that Venezuela’s tropical music could have had passed away on May 5, 1979, 44 years without Stelio Bosch Cabrujas.

Bosch Cabrujas was the arranger and assistant director of both Billos and Los Melódicos and was the architect of the success of both orchestras in the 60’s and 70’s.

A remarkable musician, but completely forgotten by the new generations.

Stelio deserves to have his place of honor in the tropical music of the Caribbean. Stelio, a native of the State of Bolivar, from a very young age, entered the musical field as a musician and arranger.

Billo Frometa, Renato Capriles, Rogelio Martínez y Stelio Bosch Cabrujas

His musical beginnings date back to the 40’s, when he performed “Campesino” for the then Billo’s, where he was recorded by Victor Perez.

Stelio’s musical baggage at the beginning was as a tres player for La Sonora Caracas, he worked with Pedro J. Belisario’s orchestra in the 50’s. He arranged a lot for the radio programs in the musical shows that they presented under the auspices of various commercial brands.

History of Sonora Caracas

Surrounded by an aura of mystery, elusive discography, and a special attraction as a pioneer of the son groups in Caracas. For a long time it was the musical platform for many local tours and recordings of Caribbean music luminaries, when they visited us in the golden age of radio and incipient television. Backed by more than a hundred immortal recordings, ranging from some of the first acetate recordings of Celia Cruz, to Daniel Santos and his theme forbidden by the always conservative Catholic Church.

Contrary to what some critics thought at the time, it was not a bad copy of its namesake matancera, they began under the structure of a septet, and later in their golden age they abstained from using the nasal choirs, they managed a structure of three trumpets, a clear hammer of the bongo accompanied by the congas, in a group with its own personality and that served as a school for some of the most important orchestra directors of the coming decades in our country.

The first Sonora Caracas

In September 1933, our capital was musically shaken by the visit of the Trio Matamoros, famous movie and record stars, who during their twenty continuous days at the prestigious Teatro Ayacucho, stirred up a bucolic Caracas with their sones and boleros, and when they traveled to the west of our country1, they sowed the seeds of the first son groups in Venezuela.

He was in the quintet Los Modernos, who on several occasions accompanied Felipe Pirela on TV. He was the pianist.

He worked for Los Guaracheros de Manolo (when he left Billo’s) and also worked with the Orquesta Sans Sousi.

He worked for a short time in Carlos Guerra’s orchestra and from there he made the leap to Renato Capriles’ Melodicos, recommended by Freddy Coronado when he was the director of LM.

When Coronado left the direction of LM, Stelio took over the musical direction and catapulted them to the fat and unequaled sound of lm in the 60’s, which represented a sonority like few others.

When Stelio left lm, Manolo Monterrey’s orchestra joined the harmonies, and he suggested to Manolo that he return to lm, which the Antillean cyclone accepted and returned triumphantly to Renato’s organization.

At the beginning of the 70’s Stelio goes to work with the most popular band in Venezuela and there Stelio’s arrangement work gives another big hit, his contribution is immense and Billo’s goes on to live one of the greatest decades that Billo Frómeta’s group has ever had.

The contribution of Stelio Bosch Cabrujas to tropical music is worthy of study and review, to be included in university courses so that the new generations of arrangers and musicians understand the legacy of a musician who is threatened to be forgotten, it is up to us to make sure that this does not happen and it is mandatory to keep his memory alive.

Sources:

Newspaper library of the popular music of Venezuela.

Gherson Maldonado

Iliana Capriles (Oficial)

Veruska Verdu

Latin America / Lima / Peru

Veruska Verdu “The only formula to keep the Salsero genre alive is to give support and credibility to the next generation”

Despite her youth, Veruska Verdu knows where she is going, without forgetting the roots where she comes from, this young woman has an interpretative strength and intensity that made her be considered by Peruvian critics as “The new Voice of Venezuela”, we do not doubt it , sings salsa and bolero very well, in addition to strolling through Afro-Venezuelan rhythms. In Venezuela, we enjoyed many of his presentations with the different orchestras with which he worked, and we witnessed how he left his soul in each one of his presentations and performances.

His greatest musical influence has been Celia Cruz and Oscar de León in terms of the salsa genre, and in the Afro-Venezuelan genre he admires Betsayda Machado and the Experimental group “Vasallos de Venezuela”. She tells us that, “in her family there are no musicians”, her grandmother and grandfather were rumberos and she believes that the musical vein comes from there, thanks to her grandparents, and to have the unconditional support of her parents and relatives, who have helped him get to where he is.

From Afro-Venezuelan music to salsa, from Barlovento to Caracas, from Venezuela to internationalization, this is how her career goes, in constant growth and evolution, nothing stops her from demonstrating her artistic quality and continuing to establish herself in this tough market.

Barlovento has a rich folk manifestation, all this mix of rhythms is in Veruska’s blood, therefore, she likes rumba, partying, music.

“What a black rock, how does she get into the rumba”

Veruska Verdu - Photo — Veruska Verdu singing in a concert

How were your musical beginnings?

“In my town of La Balsa, in the Panaquire parish, it was there that I began to sing music of the Afro-Venezuelan genre, thanks to Professor Adrián Méndez, I began to participate in the “Canta Claro” Festivals, in the cultural activities that were held, They invited me and I went, I had great support from my teacher, my school teachers, my family and the residents of the town”.

“I continued with my popular singing training at the high school, I participated in the high school voice representing my municipality Acevedo and the high school where I studied, I met my guide teacher Richard Rivero, who invited me to participate in the Afro-Venezuelan music group “Ritual Negro de Barlovento”, where I had the opportunity to travel and learn more about this beautiful genre that identifies us as Venezuelans”.

After this beginning, how was your evolution?

“I went to Caracas to work with other groups, among them are; Drum Show from Venezuela, Caña y Miel, Autochthonous from La Vega, Freddy Madera, Grupo Cosecha, Grupo la Calenda, among others”. “I received an invitation from some friends whom I love Miroslava Torres and Fernando Mozas very much, they encouraged me to join the Venezuelan Orchestra “Simón Bolívar”, I took them at their word, I auditioned and stayed, I participated for a time with the orchestra, I learned much more of our genre, stepped on stages that I had no idea I could step on”.

“Then my singing teacher Corina Peña motivated me to participate with the “Latino Caribeña Simón Bolívar” Orchestra, thank God I auditioned and I also stayed.”

Tell us about your time with the “Simón Bolívar” Latin Caribbean Orchestra?

“The teacher Alberto Vergara saw my interest in belonging to the orchestra, just that day the Venezuelan lyrical singer Iván García was arriving, who was going to sing in a musical project called “Negrísimo”, the teacher gave me the opportunity to be participated. of this great concert with García”.

“Later came more concerts with the orchestra, many learnings with maestro Vergara, for me he is number one, he is super important in my life, he helped me open my senses towards the music of the Latin Caribbean genre, love it, respect it, I give it thank you for giving me the opportunity to belong to the orchestra, for being part of the row of singers”.

“With the “Latino Caribeña” Orchestra, I stepped on incredible stages just like with the Afro-Venezuelan one, but here it was another level, another feeling, feeling the euphoria of the public that likes salsa, moving so many people, transmitting to so many people, thanks to the orchestra many people have known me and support me”.

So the “Simón Bolívar” Latin Caribbean Orchestra has been a springboard for his career.

“Of course, it has been the showcase to show the gift that God gave me, to all those who value this beautiful feeling and support me, I must thank all the teachers, all those who have been there for my musical growth, the orchestra It will never cease to be present in my career, in my present, in my future, I will always be grateful for it, thanks to it I met the teacher Alfredo Naranjo and his Guajeo, who took me into account to participate in his project”.

How did you feel working alongside Alfredo Naranjo?

“With Maestro Naranjo I got the proposal to do my first concert, which was called “Caminando”, this was in the Experimental room of the “Bod Cultural Center”, he likes things to go well, he left me a great learning to work with his side”. “The concert was super nice, I had as a guest Alfredo, my godfather Rodrigo Mendoza and my great brother musician par excellence and multi percussionist “Patatín” Guacaran, I also had the opportunity to meet Edgar “Dolor” Quijada, Soledad Bravo and Rafael “The “Chicken” Brito”.

Your career has been constantly on the rise, how has your time in the different groups been?

“I participated in a project called “Ellas son Boleros”, with Anais Torrealba, Gisela Guedez, with professor Corina Peña, I was with all those bolero ladies in Venezuela, this was under the production of David Peña “Zancudo”. “On the other hand, Carlos Padrón was there, he called me to participate in the 10th anniversary of Rumberos del Callejón, I feel very happy, because Domingo Quiñones, Maelo Ruiz, Gilberto Santa Rosa, Luis Fernando Borjas, Memo Arroyave, Gonzalo Díaz participated there. , wow!, a lot of people who have years of experience and I am like the puppy of the project, and look, however, Carlos believed in my talent and made me be part of his production”.

“I was with the Sopranos for a while, on the album that won the Pepsi Music Awards (Decade), my choirs are out there, with Sonero Clásico del Caribe, a Son institution in our country.”

How have you felt taking on these challenges?

“It has been tremendous, to have the support of some tremendous musicians who are legends, “Nene” Quintero, the pianist par excellence Pedro Pérez, very cool, in all those groups that I have been thanks to the projection I had with the Latin Caribbean Orchestra and my commitment day by day to all this”.

Apart from singing, do you play any instrument?

“I had a short time at the Bigott Foundation, they taught me certain things to learn to compose, I like to play the guitar, and now I am dabbling in the bass”.

From Afro-Venezuelan music to salsa, how was that transition?

“We are not very far away, remember that Afro music its main root is the drum, just like in the Caribbean genre, in salsa, the root is the percussive, the blows, the leather, the key, the swing, that taste, that sense of enjoying what you do, rather the Afro-Venezuelan genre helped me a lot because of the free way of singing.”

“I feel freedom when singing salsa, because I learned in Afro-Venezuelan music how to improvise, to have that ability, I have enjoyed it, in some shows I remember any verse from some party or ass e` puya and singing salsa I say it, it is “cheveroski” as they say around here”.

Did you ever think that being so young you would be next to many who have years of musical career and are already recognized in this medium?

“I never imagined it, it is a blessing from heaven, I am just starting out on the path of music, I still have a long way to go, God has given me the blessing and joy of being able to share the stage with El “Pollo” Brito, Edgar “Pain” Quijada, Alfredo Naranjo, Francisco Pacheco, meeting Betzayda Machado, being with Sonero Clásico, Canelita Medina, I feel happy that in my short time I have met wonderful people and been able to share the stage with them, just like here in Peru”.

What do you think of the support for national talent in Venezuela?

“It has been excellent, I feel that right now they are giving credibility to the successor generation, it is very important to give support, it is the only formula for the genre to remain alive, credibility must be given to the one who is being born and has the ability to make music”. “In Venezuela they have given the artist great support.”

You continue to be “Enchanted with life” despite the regrets…

“If everything was placed on a silver platter, there would be no achievements, the greatest satisfaction is hard work and discipline, I am living my experience that seems spectacular to me, I am enjoying my moment, I am learning things that I did not know in its entirety, I am maturing as an artist and as a person.

“All things go through a moment of difficulty, we must always highlight the good things.”

Its jump to Peru a market that is in the musical arena, the critics baptized it as “The new Voice of Venezuela”, What do you think of this?

“I am grateful that in Peru they have that appreciation of me, it feels super good, on each platform that I mount I will give my best, my tricolor goes with me upstairs.”

How has the receptivity of the Peruvian public been?

“It is not easy to arrive in a country and start from scratch, however, it is a matter of continuing to work, to continue showing what we are made of and to make good music, to do a job like a ant, things have flowed in a very good way, I have participated in productions of the master Tito Manrique, Manongo Mujica, I met the people of a group that I greatly admire Peru Negro, they play Afro-Peruvian music, I did concerts with Carlos Mosquera, a super singer, incredible, a blessing from heaven.

“The support of the Peruvian public is always present, what should Veruska do, continue working constantly, I must thank you for having been very receptive to the work that I am doing.”

In Peru they also have payola?

“In the whole world there is payola, this market is managed like this, salsa, merengue, joropo, tango, pop, jazz, reggaeton, you have a good product, but many times you have to “encourage” the person to show it.”

How do you see the salsa movement at the moment?

“It is a good time to continue highlighting our genre, we are in the here and now, ah! which is not the same as in the past, those times do not compare, for me this is a super excellent moment, many people are doing their work, Víctor Cardona, Carlitos Padrón, Pumaband, La Latino Caribeña, right here in Peru, how many new artists they have, all these people have been promoting salsa”.

Tell us about your solo career.

“It has not been easy, but I continue to give my all, thanking the people who have supported me even without knowing me, I must thank Mr. Alberto Vale who has joined this Veruska project and tells me; -black let’s go forward, everything will be fine, -let’s do this, that-”.

Your first musical production “Fusion -Venezuela – Mundo”, which musicians participate in it?

“Sabrosito Así”, is the promotional theme, we wanted to make a very cool fusion, which was reflected there, thanks to Juan Carlos Linares who gave us all the support to materialize this single and that people knew it, I had excellent musicians; Mario Pasmiño as Musical Director, in addition to Patatín Guacaran, Gisel Brito, Gray Peña, Aarón Cabrera, Ángel Peña, Jeison Ascanio and Darwin Latan”. “This experience was great, beautiful, in the Velvet studio.”

Define yourself in one sentence

“Feeling and rumba, I like the alegríadera”.

Venezuela in one sentence

“Good people, hardworking, like my people none.”

Translated by: Thisby Ferrara

By Eiling Blanco, Correspondent for Latin American

Renis Mendoza

Europe / Colony / Germany

Renis Mendoza “San Agustín is like a continent and Marín is its capital”

Renis Mendoza is a long-standing Venezuelan percussionist, who has participated with renowned groups inside and outside our country, sprouting from the Marín neighborhood, in the San Agustín parish. A character full of great spirituality and magic, transmits us with his joy and slow way of talking.

He has been based in German Colony for 33 years, together with a group of countrymen who decided to expand their borders and internationalize, to leave the tricolour imprint throbbing in every touch of a drum.

He remembers San Agustín as a vibrant neighborhood, where as a child he listened to “gaitas” (typical venezuelan December music), rock, salsa, parrandas, drums, music downloads, among other cultural activities. In his home, art was always present, his parents were excellent dancers, and Mendoza always lived with his ear attached to the radio to listen to what was playing.

In his early stage, he also liked to rub shoulders with the greats of the neighborhood, Jesús “Chu” Quintero, Carlos “Nené” Quintero, Alfredo Padilla, Crucito Mijares, Carlos Daniel Palacios, Pedro “Guapachá” Father, Manuel Madriz, Carlos Orta, as they were his great teachers and role models. He witnessed many famous people visiting the parish, among them the visit of Ángel Canales, Eddie Palmieri, Peter Conde Rodríguez and many others.

Everything has not been rosy for our interviewee, he had to go through a difficult health situation and be almost on the verge of death, this did not intimidate him and he confesses that; “In the midst of this tragedy I never lacked love, the warmth, the prayers and good vibes of my dearest beings,” – it was a true miracle – he assures us. He recovered from an aneurysm, the doctor said he was going to die despite the 2 interventions performed, but the desire to live, love and music broke with all the prognosis, Mendoza woke up and the machines he was connected to started working normally, it was a real miracle.

Living in a musical parish does not allow anyone to escape from this spell. How were your beginnings in music?

“Being surrounded all the time by people who sing, dance, listen to different types of music, allows you to open a range of possibilities, there it all started, at home, in the corner, watching the “Gaitetricos” and the “Super Cremas” rehearse, your parents , your grandparents, your friends, the sound neighborhood and how not to be part of that musicality, the milk pot, any object that allowed you to play and download ”.

Is it true that the best percussionists were born in San Agustín?

“It would be necessary to make a survey – laughter -, before“ Guapachá ”- father – arrived in the neighborhood, there were musicians and people who played percussion, it is important to name them all, we must not forget them, nor can we name two or three people, but in my way of seeing it, I think it’s great that many percussionists were born in San Agustín, I love it because there is so much quantity and quality that is very important, the quantity and quality of the percussionists specifically from Marín, the neighborhood where I am from. ”

So all this influenced your life. Could you have had any other profession not having lived in San Agustin?

“I don’t know, but, -how do you escape your destiny if there was art in your house-, my dad wanted me to be a sailor, but there was a great influence with everything I experienced, my father was a sailor and he brought many records, many Lp’s, a lot of varied music, he was a tremendous dancer, a great salsa player, just like my uncle Joselito, they called him José salsa ”. “At the age of 4, I was pumping the “Super Crema” rehearsal, I had to listen to all that, as I saw all those people playing, that was a great influence for me.”

“In the period of the “Gaitas” I was the drummer – Marín, Marín, Marín, Marín, is the neighborhood that’s always in something, and in it the Christmas carols are enjoyed – right now I don’t remember the name of the group, at that moment I realized that I liked to play, although my grandmother didn’t like that noise at home. ”

The music from home seduced you..?

“Yes, I learned from all those great musicians, Crucito Mijares, Manuel Rico (my father), José “Salsa” Quintero, José Alberto “Caraotica” France,“Chacho” Pérez, Nano Grant, Melquiades, Carlos Orta, Los Quintero, Los Palacios, Los Rengifos, Los Blanco, watching the rehearsals of Mon Carrillo, Frank and his Tribe, Group 3, Los Gaitetricos, took us to the downloads, with the Maderita group (Wood Group), to the young people I advise you to pay attention to our history, all those people who have been trainers must be given credit, they are eternal for me. ”

“On the other hand, Felipe Rengifo announced the parties, with a lot of talent, he has been a key guy in percussion and the creation of instruments, his influence was Mr. Jesús Blanco, they always did something out of nothing, for me it was great to learn the percussion, San Agustín is a garden of different trees ”.

Talking about San Agustin and not talking about the Madera Group is almost a sin. Tell us about your time at the Maderita Group and after your growth with the Madera Group.

“Many people forget and we must activate the memory of all, the Madera Group for me is a nectar, the nectar of a fruit brought to juice, they were part of many groups at the beginning.”

“The Madera Group formed a group of young people since they were little, I believe the Maderita Group, there were Daniel silva, Jesús Paicosa, Chopo, Martin – with his noise – Robert and Chipilín were dancers, Ramón Gil, Cron Cron Orta, Luisito Quintero, there were others that I don’t remember. ”

“There was dance, theater, Venezuelan and Caribbean folk music, the texts that had significant depth, still today for me become eternity.” “Everyone should be mentioned, not one, two, those who left and those who survived, the wood represents wind, rain, sun, it’s sadness and joy, it’s creativity, it’s fidelity and musicality, those who were part of the Madera Group, are part of our trees, of which all of us are wood ”.

When did the tragedy dissolve the grouping?

“That hurt us a lot, there are wounds that do not heal, after the tragedy we finished all the concerts, one hand it was excellent, but sad on the other, we had to sell joy, when we were going through a very sad moment, many things happened , when the time is right, each one will say them, then I leave with the Coreoarte group with Carlos Orta, for me the wood is infinite, for me we are all wood, it is important to build, rebuild and continue creating ”.

The dilemma of the “original” Madera and the “copy” Madera, still, after so many years there are controversies between them, what do you think of this?

“With the reformed Madera group played; Felipe Rengifo, Migdalia Felipe’s mother, Noel Márquez -he was already taking the reins of the group-, Carlos Daniel, José Rivero, Simón Blanco, Farides Mijares, and many of the former members, then they left, they must explain their reasons, we played a lot, even with Ali Primera. ”

“With this current project we must see things from a constructive and objective criticism, from my point of view, they have done many things, they have been constructive and have kept that name, there are boys who are playing and it seems great, Noel has moved a lot as President of this new project, he is like an engine, without an engine, the car does not roll, although a name should not be repeated, it should be a tribute to the Madera, something that represents the Madera or something, we must recognize that he has done positive things. -Who is saying but not doing-, it is better to do than to say ”.

“This story is very long, yes, something original should be done.” “Following the death of some members of the Madera group we formed the Kimbiza group and then Cimarrón, the Madera Group should remind everyone, the Madera is root, stem, leaf, flower and fruits, who attack the Madera, -the parasites – Those who do nothing … We are all Madera”.

What does San Agustin mean to you?

“It is a beautiful parish, I consider it as a galaxy surrounded by various planets such as La Charneca, Los Hornos, La Fila, El Manguito, La Ceiba, El Mamón, La Ford, Marín, etc. you should not name a single family , a single person, we are a salad, we are a pavilion, we are what we are for what we are, and we have all put a grain of sand, we are taking root in many places ”…“ San Agustin is like a continent and Marín is the capital. ”

With so many experiences, what memories do you have of the parish?

“San Agustín has been boxing, volleyball, baseball, musicality, dance, as a child I remember the story of Los Rebeldes de Marín, a baseball group, they wanted to take them to play outside the country – a fascinating story – the final was against Willis Willis, the Marin Rebels won and the prize was a trip to Venezuela, this story is as fascinating as the Madera Group. ”

“I remember when we wanted to be evicted and the No to Eviction movement was formed, in the end they built the Yerbera buildings.” “The disc jockey in the neighborhood on weekends, the Parra family played excellent music, Carlos Daniel replied, on the other hand the chicheros -familia Mata-, each alternated, they were all excellent, the true history of the neighborhood , we must open that trunk and get the stories with all those names. ”

Your jump to Germany, How has been the receptivity of the public?

“The love is felt, we mix folklore with the classic, with the neighborhood and people like it, whatever you do, do it positively, transform and do not copy, do not imitate.”

His journey has paid off. On which projects have you worked in Germany?

“Of course, with the Modern Talking duo, the second most successful group in Germany, with Jesse Milliner -is like a brother to me-, a Rock monster quoted in the US, I owe him a lot, when I was serious he was always by my side Milliner has been a pianist to artists such as Lee Ritenour, Chaka Khan, Trilok Gurtu, Tierra Viento y Fuego; I also worked with Afro-Jazz-Gruppe Cámer; Nélio Costa Band, from Brazil; DJ Olly Tonköpfe ”. “With many famous artists, in the atmosphere of soul and funk. And I recorded a lot of Brazilian, African music, with the Chilean group called Loa. ”

“In the world of jazz I have accompanied great musicians such as Eric Marienthal, Nelson Rangel and Rick Braun, among others. In addition, I have participated in musicals such as “Saturday Night Fever”; “Tabaluga; Miami Night ”, at the“ Montreaux Jazz Festival ”. I am requested in the curricula of the institutions the “Folkswangs Hochschule de Essen”; the “Johannes Gutenberg-Universität Mainz”; “Hochschule für Musik und Tanz Köln”.

Dance and percussion, your two passions, the sublime and the loud, is not something ambiguous …

“Both go together, we dance through music, here the phenomenon of osmosis occurs, the drum is not to hit or slap, it is to caress it, the world of dance had a great dancer Pina Bausch, she created contemporary dance, with her danced Arnaldo Álvarez – nephew of Carlos Orta – whom I thank very much ”.

You went through a very difficult stage when you got sick, it almost ended in a sad outcome, what triggered all that?

“Look- I was playing a lot, I did not stop, my cousins and my brother told me (Luisito and Robert Quintero, my brother José Luis and Charles), and I simply ignored them, and then I began to feel tired, weak, sweaty. The first diagnosis was wrong (allergies), then they found me high blood pressure, I had to go to the doctor on December 2nd, but on December 1st, I lost track of me, I did not have time to go to the consultation ”.

“The medical evaluation determined that I had an aneurysm, the doctor told my relatives that I was going to die. Two operations were of no use to me, I was in a coma, however, in the midst of this tragedy, faith, love, and miracles, those that happen every day were always present, and there were my friends, they never failed, you know, Jesse Milliner came with his piano , others approached with their violins, they sang to me Godspel ”.

“When the day of the farewell arrived, they were going to disconnect me, they were all present, they started taking all the cables off, Jesse told me, then my daughter Fe arrived and started singing and rubbing my feet”… “ when they got sick I used to rub their hands and their feet, and the doctor, who didn’t let anyone come near me, let my daughter do it. ”

“I woke up, the machines started working, what could have been my funeral, became a miracle, the doctor said: -we are not going to get Renis out of the hospital, Renis is alive-, I weighed 40 kilos.” “The doctor was surprised, my daughter Fe came back the next day and was surprised by my physical improvement, and then repeated the therapy.”

“They played Kimbiza music, with themes of Yma América, and Jesse Milliner, it was a real miracle, the doctor says it and I reaffirm it.”

Being so close to death, How do you value or see life?

“It gave me a wide sensitivity, I am fully convinced that there are two dimensions, before I didn’t believe in anything, people change to another level, to another dimension, for me life is the awakening.” “Every day that passes is a day we win, but every day that passes, it is one day less, life is infinite, someone that leaves and leaves a good memory, is someone who lives forever by leaving us their energy.”

Currently, what activities are you doing?

“I am working in two universities; in one, I give what they call co-repetition, I teach contemporary dance students what is the rhythm and interpretation of the movement and feeling, and the creation of choreography. In parallel, I am at Johannes Gutenberg University, I work in Latin Jazz – which I thank the neighborhood, since I introduce things I have lived through -, besides this, I play a lot, I tour with jazz, soul, pop groups, the boys created a group and named it Renis “ Live ”, which means that I am alive, due to the health accident I had and when I returned they were impressed.

“To teach people, to contribute to my neighborhood, to create and not copy, to be part of those trees, I dream of taking these kids to my neighborhood, to exchange what they have learned with us, I reaffirm you” to be, you have to do. “

A recommendation for the new generation

“We must investigate all our roots, music, dance, boxing, theater, “bolas criollas” games, baseball, all this as a representative identity of our neighborhood, we must recognize everyone who has done something for the parish, because thanks to them, we will be eternal. ”

A phrase by Renis Mendoza …

“Live today and now, be constructive, do not copy.”

Translated by: Thisby Ferrara

By Eiling Blanco, Correspondent for Latin American