Search Results for: Pianist

Héctor Martignon has been one of the most sought-after pianists on the Latin jazz scene in New York

New York based-, Colombian born Hector Martignon has composed, orchestrated, produced, performed and recorded music in a wide spectrum of genres, from Classical and Crossover, to Jazz and World Music, to Rock and Pop.

His five albums as a leader, two as co-leader (MOZART’s BLUE FANTASIES and BACH’s SECRET FILES) as well as his work on over a hundred albums, scores for five feature films, three Broadway Musicals and multiple other projects, showcase his wide-ranging area of expertise.

At Mozart Studios recording Carlos Jimenez’ second CD, + Ruben Rodriguez + Vince Cherico. A pleasure!

After several nominations as a sideman, two of his five solo CDs were nominated for a GRAMMY Award (REFUGEE, 2008, and SECOND CHANCE, 2010).

He arranged and performed parts of the score of Ang Lee’s OSCAR-nominated movie EAT, DRINK, MAN, WOMAN.

His first professional recording was at age 18 (Mikis Theodorakis’s “Canto General”) while one of the most recent was on legendary rock band CHICAGO’s latest production, the Latin-tinged “EXITOS”.

He has written symphonic orchestrations, performed and recorded by the Russian Philharmonic Orchestra and compositions like ABRE LOS OJOS, CIERRA LOS OJOS, commissioned and premiered by the MUSICA DE CAMARA STRING ORCHESTRA at St Patrick’s Cathedral in April 2011.

Hector Martignon is currently working on a first CD with his BANDAGRANDE Big Band + String Quartet as well as an album with selections out of a series of 7 solo piano recitals at the Ludwigsburg University of Education (Germany), where he conducts a “compact seminar” on Classic Music-based improvisation every November.

As a requested sideman he has toured the world with such greats as Paquito D’Rivera, Ray Barretto, Gato Barbieri, Steve Turre, Don Byron, Tito Puente and was featured pianist with Max Roach’s PROJECT AMERICA at the 92 St Y.

His joy of teaching has made him a requested guest-lecturer and performance teacher in music faculties and academies in several countries of Europe, Japan, North- and South America.

Hector wrote an instructional book on Latin piano commissioned and published by Hal Leonard, the SALSA PIANO BOOK.

Martignon’s abilities as a pianist have always been enriched by his interest in varied musical genres.

He paid for his studies of classical piano and composition at the prestigious Freiburger Musikhochschule in Germany by performing with the best Afro-Cuban and Brazilian bands of Europe, backing stars like Celia Cruz and Ismael Quintana on their European tours, and recording with Tata Güiness and Arturo Sandoval.

At the same time he was attending seminars of contemporary composition with masters like Gyorgi Ligetti, Luigi Nono and Karl Heinz Stockhausen.

He also performed classical music in recitals and concerts in Germany, Italy and his native Colombia, specializing in Chopin, Bach and Debussy.

One of his latest endeavors has been a Jazz-Classical crossover project, co-lead with star virtuoso trumpeter Joe Burgstaller, in which the music of the classics, from Bach to Ellington is re-created in a chamber-jazz setting, to be enjoyed on their two releases, “Mozart’s Blue Fantasies” and “Bach’s Secret Files”.

Living in Brazil for a one-year love affair with that country and its music, Martignon soon became a requested studio musician and worked for star producer Carlinhos Brown.

Since relocating to New York City, Martignon has been one of the most sought-after pianists on the Latin jazz scene.

He’s toured North and South America, Europe, and Asia with the bands of Mongo Santamaría, Gato Barbieri, Steve Turre and Don Byron, who had him record in his latest CD.

He was featured pianist with the bands of Tito Puente, Mario Bauzá, Chico O’Farrill, Paquito D’Rivera, and Max Roach in his “Project America.” Most notably, Martignon was pianist for the late Ray Barretto’s various ensembles.

During his eight-year association with Barretto, his contributions as pianist, arranger, and composer were fundamental in shaping the sound of the now famous New World Spirit Sextet.

One of his last collaborations with Barretto, “My Summertime,” was a favorite nominee for a Grammy award. Martignon’s versatility has also made him extremely active in the film and television industries.

Besides playing all piano parts, he arranged and produced many parts of the score for the Oscar-nominated film “Eat, Drink, Man, Woman” by Ang Lee and performed the piano and keyboard parts for many movie scores (i.e., “Gloria”, “Relativity”).

He is composer of the original music of two feature films, one of which, “Septimo Cielo”, won international awards. He also collaborated in the production of many Broadway musicals (“Chronicle of a Death Foretold”, Paul Simon’s “The Capeman”, “Selena Forever”) as conductor, arranger, and co-composer. In the fall of 2003 Hector visited Slovenia and Russia to collaborate with singer-songwriter Vitaly Osmsçko’s first symphonic CD.

The Russian Philharmonic Orchestra recorded in Moscow the orchestrations written by Hector.

As a composer, producer and arranger of TV and radio music his record is no less impressive. In 2001 he landed two spots for HBO Latino, and one for Coca Cola.

HECTOR” S FOREIGN AFFAIR In 1998 Martignon performed with his quartet “Foreign Affair”at the Brooklyn Academy of Music’s famed annual festival “The Next Wave” on a triple bill with Tito Puente’s “Top Percussion” and Don Byron’s “Music for six Musicians”.

This proved to be a turning point for him and his ensemble, which evolved from the strictly acoustic trio sound of the first two CDs to a more eclectic and electric quartet sound.

The new configuration that evolved from that memorable concert started a series of concerts and recordings, with guitarist Mark Whitfield, Cameroonian bassist Richard Bona and Cuban drummer Horacio “Negro” Hernández.

This quartet performed and recorded live during a weeklong stint at New York’s famous Birdland.

The group has also performed on BET television festivals, at jazz clubs in Manhattan, and made various appearances in clubs and open-air festivals in his native Colombia and in Europe.

Martignon’s third solo project, to be released in the fall of 2003, is not only a reflection of the group’s new musical direction but also of his interaction with other world class musicians.

Eddie Gomez, Jeff Watts, Mathew Garrison, John Benitez, Dafnis Prieto, Willard Dyson have all made their unique contribution to this, Martignon’s new sound of Jazz.

Hector In Amsterdam with daughter Leticia

Hector Martignon never fails to surprise, challenge and delight us. Stay tuned and get involved in this affair.

Site: Héctor Martignon

Also Read: “El Sol de la Música Latina” el primer premio Grammy para el histórico disco de Salsa Eddie Palmieri

Jesús “Chuito” Narváez the Atheist of La Guaira and the pianist of the golden age of the Latin Dimension

Jesús Chuito Narváez was born in Margarita on August 26, 1950. He began his musical career as a player of stringed instruments such as the guitar, cuatro and bass.

On Monday, January 16, 2006, at 6:00 a.m., Jesús “Chuito” Narváez, pianist of the golden age of the Latin Dimension, died in La Guaira at the age of 55 due to a liver disease.Especially for the guitar instrument with which he debuted with “Los Tremendos” in La Guaira and under the tutelage of Edgar Evers in the late sixties and early seventies.

Jesús “Chuito” Narváez el Ateo de La Guaira

Precisely in 1971, the famous Estrellas Latinas of composer Cheo Palmar (a group that included Canelita Medina, Joe Ruiz, Calavén, El Flaco Bermúdez, Cheo Navarro, among others), made a record in which Chuito recorded the guitar on one of the sides of the 45 rpm.

In that group Los Tremendos bought a piano so that Chuito could learn to play it, and it is when he had the opportunity to replace Nano Ladera, pianist of Los Satélites and they recorded the LP: “Saltando el Muro” in 1972, an album that reached the first places in NY especially for the song: “Traicionera”.

Cheché Mendoza’s Satélites, after jumping the wall to fame in other yards, constantly traveled to achieve the success that in their own land they were denied, one of those frequent travelers was Chuito himself, a fact that prevented him from recording the first album of Dimensión Latina in its entirety, where there was the need in the song Julia to use the piano of Professor Franklyn Stuart or Eddie Frankie or rather Tony Monserrat, who like a serious madman leaves that string of madmen who were the members of the Latin Dimension, so when Chuito returns from his trip to Aruba, Curaçao and Bonaire he must make the difficult decision to choose between the Satellites (with whom he had recorded another album : “Cheché himself, disillusioned by the little affection in his homeland, encourages him to go with the Dimension, where he begins a fruitful career of 14 long durations.

In 1979, Dimensión Latina had already suffered the loss of Oscar D’León in July 1976, in February 1978 Wladimir to go with Oscar, until after a series of rumors Chuito together with Rodrigo Mendoza also left the group fulfilling contracts until March 15, when he was replaced by the excellent Colombian pianist Samuel Del Real.

Chuito Narváez and Rodrigo Mendoza formed the Orquesta Amistad in April 1979, recording three albums: “Presente y Pasado” in 1979, “El Poder de la Amistad” (1979), and “Calavén y Yo” in 1981, with the legendary Negrito Calavén replacing Rodrigo who had left with La Salsa Mayor.

With the Orquesta Amistad Chuito changed his structure with the dimension and incorporated three and four trumpets, two trombones and the flute of the young Natividad Martínez.

Chuito himself once declared: I am not pedantic, because I don’t like that, but my aspirations are to have one of the best orchestras and to be able to alternate with those who are said to be the best. In his first album, the vocalists Rodrigo and Tito Gómez compete with one of his greatest hits: Ritmo de Azúcar (1979).

Fuente:

Herencia Latina

Michiel Braam: The Virtuous Pianist from Nijmegen

Two years after the creation of the Latin Jazz album XYZ with Son Bent Braam

Michiel Braam presented XYZ at the Music Meeting Festival. “The festival takes place in Nijmegen, where I was born (1964), grew up, and still live”. Foto: Marjan Smeijsters

Virtuous pianist, masterful producer, and surprising composer. Winner of the Podium award (1998) and Boy Edgar (1996/1997). Musician trained by conviction and at the ArtEZ Music Academy in Arnhem. His lifestyle is synchrony between freedom, creativity, teaching, and love. It is how he presents us his life and his works in Nijmegen, Michiel Braam.

This friendly artist with a protective childhood where love prevailed always had the support and freedom to develop and create everything he considered necessary to him. Michiel is the only one in his family who turned to music professionally, but the rhythm of melodies runs through his veins. His parents played the piano self-taught. His mother wrote notes while his father just improvised.

During high school, he participated in a band for which he wrote and arranged all the music. He studied at the conservatory and founded his more minor quartet Bentje Braam (“Little Band Braam”) in 1985. In the same year, he traveled with his band to Sweden to be the first Dutch group to open the EBU Jazz Festival and wrote his first composition for the Dutch radio “Cows and Beasts”. A year later, he created the band Bik Bent Braam.

“Music is, as long as I know, everything to me. I feel better with music. I dance when I’m happy, and music comforts me when I’m not doing so well… It seemed like a logical step to pursue what I enjoyed most.” Michiel Braam https://www.michielbraam.com/

By 1988 Braam had had no contact with Latin music until percussionist André Groen asked him to be the pianist for his Orquesta Europea de Danzón. In this regard, this wonderful pianist told us: “He wanted a pianist who had a wild free Jazz attitude and who didn’t only play the well-known Latin patterns because he thought that fitted better with the authentic Cuban music. That music immediately appealed to me, especially because of its rhythmic impact, but also because as a pianist, you have a lot of freedom to go in all directions during improvisations. I have touched on those Latin patterns to some extent and in the course of the 10 years that I played in that orchestra I managed to master them better, but it was mainly the combination of freedom and rhythm. That orchestra lasted ten years and we celebrated the thirtieth anniversary in 2018 with a couple of concerts. Great to do that again and I felt again exactly why I found it so appealing back then”.

In 1988 Michiel won the Podium Prize, an encouragement prize for Dutch Jazz music and in 1996/1997 he won the Boy Edgar, the highest prize for Dutch Jazz.

This pianist, the architect of great projects, built a party based on the Latin alphabet of Western culture on the album XYZ released in 2020, creating a danceable mix that includes Mambo, Rumba, Son, Danzón, Boogaloo, Calypso, Rumba, Bembé, Mozambique, Samba, Afro, Bolero, Cha-cha, Merengue, Bembé, and Samba. Michiel is also the Director of the Jazz and Pop department of the ArtEZ conservatory and founded a Danzón orchestra. Now, I leave you with the rest of this wonderful interview that I had the opportunity to do with the great Maestro Michiel Braam. Enjoy!

They have played on the ZomerJazzFiets tour, North Sea Jazz, and Bimhuis. Likewise, some of the members of the orchestra are fluent in Spanish.

– How did the idea of the Latin jazz album XYZ come about?

In 1995 I wrote “The XYZ of Bik Bent Braam” for my big orchestra at the time, Bik Bent Braam (phonetic Dutch for “Big Band Braam”). I thought it would be fun to make a festive version of it to celebrate the 25th anniversary. The XYZ was (and is) a 26-part suite, with a piece for each letter of the alphabet, starting with Aardedonker (English title Atramentous, Spanish Apagado, both not exact translations…) and ending with Zwoerdspek (Zaftig, Zafio). I revisited all the pieces in 2020 and paired various styles with the original material. In the 1995 original, they were mostly jazz-like styles (bebop, free improv, swing, jazz ballad, etc), but Chachachtig was a rumba even then. It is the only piece that has not changed its mood substantially.

– What happened to the previous members and how did the new members take hold?

The original orchestra Bik Bent Braam was composed of top musicians from the Dutch improvised music scene. The orchestra existed from 1986 to 2013 and had a number of lineup changes. In the final version of Bik Bent Braam there were only a few members left from the very beginning. That the musicians of Bik Bent Braam could read well was not really a requirement, the core was affinity with swing and great improvisational skills. For this new version, it was important not only that the musicians were excellent improvisers, but also that they had to have a feel for Latin music and also that they were outstanding readers, because I did not foresee that there would be very much rehearsal time and the notes are quite challenging. Bik Bent Braam was subsidized with government funding and I could then easily occupy a longer period with many rehearsals. Son Bent Braam, the current line-up, does not have its own subsidy, so we have to look at each concert and hope that everyone can make it. There have been quite a few subs, and they too have to be able to improvise and read well.

– Tell us about your Danzón orchestra.

André (André Groen – Percussionist) wanted to immerse himself in traditional Cuban music. There is so much richness in the danzón with its fixed forms that pass by in each piece with the most beautiful melodies and the wildest spaces for improvising on highly danceable rhythms. We found the instrumentation with violins, cello, flute, percussion, double bass, and piano attractive. After ten years I got too busy with my jazz ensembles, by then I was touring all over the world with Bik Bent Braam and other groups and especially with my Trio BraamDeJoodeVatcher. I could hardly combine it anymore with the Danzón Orchestra and the great pianist Peter van Marle took my place, which made me feel very humble. The European Danzón Orchestra then existed for another year or so. I honestly don’t know why it stopped then. In 2018 we did a couple of reunion concerts, great fun to do.

– How many years have you been in charge of the Jazz and Pop department of the ArtEZ conservatory and what do you teach the new generations based on your experience?

I have been head of the program since 1992. It is part of a broad arts university and is located in a building that also houses dance, theater, fine art, applied art, fashion, and creative writing. As a head, I don’t teach very much… only when students very specifically ask for it a few hours of individual lessons per year and a few group lessons, and I also regularly give master students some lessons. My message is usually quite short and clear: there are millions of people who play an instrument excellently, and you can probably teach an orangutan to play Keith Jarrett better than Keith does himself, but – apart from the fact that that would be a fun YouTube hit – there is no point; in our music, it is almost all about an authentic voice, including all the shortcomings that are in everyone, which also make you a unique musician. Obviously, you must have many skills as a musician, but my life motto is that one’s deficiencies are far more important for one’s personality than one’s skills, and that attitude underlies my whole vision of art education.

“With Nos Otrobanda have started to concentrate on the music of Noro Morales and have his composition Maria Cervantes (single) firmly in our program. His music will probably be the subject of our new album”. Foto: Marjan Smeijsters

– What are your next projects?

Everything is starting up again post-covid. I want to record a solo album on my grand piano, a so-called “Alurip”. That’s an aluminum grand piano made in the fifties with a specific sound. And the album of our trio Nos Otrobanda, which specializes in Antillean music, is almost sold out. That doesn’t matter obviously, if there are no more physical copies then you can always hear the music through iTunes, Spotify, etc, but it’s a great opportunity to make new recordings again and the intention is to go to Curacao and record music in the Fortkerk in Willemstad, the place where we did a couple of concerts in 2018. That was a great experience, what a nice place and sweet audience!

– How was the process to make a living from music?

I stuck pretty firmly to the rule that you have to do what you like and not let yourself be distracted too much from that. And I look for what it takes to make it happen. From 1996 to 2012 I received an annual government subsidy to realize my projects. I am also a real musician in the sense that I have a mixed professional practice (playing, writing, teaching, producing, almost every musician has roughly that mix) which means that it is always possible to make a living out of it and we never had to worry about bread and a place to live.

Michiel Braam & Son Bent Braam Orchestra. Foto: Marjan Smeijsters

I make music mainly because I can’t do otherwise. Music is a way to communicate; it makes you a little better… Leitmotiv in everything is that in music, I am free to do anything I want. For example, I did play Purcell’s Dido and Aeneas with the exquisite reed quintet Calefax, also improvising on the various songs from that opera.” Michiel Braam

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Pianist Fadi Gaziri Debuts In Salsa Music With Cuba Classic

A Studio Album That Reflects The Multicultural Sound Of Western Europe And Latin America

Cuba Classic album cover with colored houses and a red car — Cuba Classic was released in August 2021

The son of medical parents and the grandson of a passionate pianist, Fadi Gaziri ventures into the Salsa world with the album Cuba Classic, independent record production in collaboration with his German colleague and great friend Fritz Wengler.

Cuba Classic fuses the incredible universe of emotions that classical music transmits with the passion, conventional melodies of Jazz, and the rhythmic base of the Caribbean that characterizes Latin culture.

“Arranging classical pieces to fit a Salsa vibe was surprisingly easy… The melodies can be rhythmically changed to suit the Latin vibe while keeping authenticity…” Voiced by the talented British pianist.

This masterpiece with hybrid two-language titles strikes a perfect balance between the original title of a classic work and the sensation of the indicated awakening of a Latin melody. “I always liked Salsa for its quality to make people dance, so naturally and with such confidence.

As for the music itself, I love the colorful brass arrangements and Latin percussion. It’s a lot of fun to listen to and to play… ”. Fadi indicated.

The 13 songs on the album are El Capo (Zarathustra, R. Strauss), 5 Sinfonía De Salsa (Beethoven’s 5th Symphony). “I had a lot of fun with this one. …The Reorganization, the phrasing, using repetitions, increases, and the complete brass arrangement to make it sound like a proper Cuban track”. Fadi added recalling his experience with the production of this theme.

The next track on the album is Mambo Loco Nórdico (Grieg’s Piano Concerto in LA minor), resembling Havana at its turbulent peak and with great determination. Continues, the fourth track Mambo Austriaco (Mozart – Symphony No. 40 and Eine Kleine Nachtmusik), and the exquisite mix of Calipso Alemán (Beethoven’s Symphony 9).

In addition, you will also find in Mambo Classic: G-String Bossa (Air on a G string, JS Bach), Salsa Húngara (Brahms Hungarian Rhapsody) thought for the Latin ballroom dance competition tracks, due to the grace of the exuberant exposure of the horns.

Funeral De Che Guevara (Liszt, Hungarian Rhapsody in C sharp minor), Havanera (Carmen Bizet) is another of the themes that stand out on this album. “It was inspired by the character of Che Guevara and his revolutionary spirit. Along, with a trumpet blast from Mariachi… Fernando’s lyrics and voice also add to the overall feeling”. Gaziri commented to us.

Rumba Rusa (Swan Lake, Tchaikovsky), La Toccata Loca (Bach Toccata in D minor), Green Leaves (traditional Greensleeves), and finally the piece Lambada A La Luz De La Luna (Moonlight Sonata by Beethoven) beginning with the funeral march played with a trumpet solo intervened with a joyous lambada, ending in a Latin urban sound.

Fadi’s main idea with Mambo Classic is to simplify the music on this album for use in schools across the country and have children perform it by simply playing percussion with the backing tracks.

Similarly, Gazziri hopes to present this record production live in 2021 on the big stages of Berlin and the rest of Europe.

Why The Fusion Of Latin Rhythm With Classical Music?

Fadi Gaziri in black and white playing the piano — Fadi Gaziri can handle musical instruments alongside cinematographic elements, folk, and ambient electronic sounds

This talented artist since his return to Hamburg in 2017 has been involved in teaching music to children and teenagers in schools in this port city located in northern Germany.

Gaziri showed signs of concern every day as he observed his students’ reluctance to learn classical music, a feeling already developed as a famed behavior among young people today. But why don’t German students like to learn about their cultural heritage? The main reasons that Fadi realized were that his students were not motivated to continue with their studies due to the complexity of the music and the difficult handling of the instruments that did not allow them to master them quickly.

Realizing this, Gaziri began to devise the fusion of the Latin genre with classical music and thus seek to reverse the discouragement of his students. “I wanted children to learn classical music in a fun and interactive way. Something that would not take long to learn and that could involve all participants, regardless of their age, nationality, or musical ability. Most schools have Latin percussion that sits on the shelves and is rarely used.

So, I thought it would be a great idea to put in some classic melodies and accompany them with this Latin percussion. Wouldn’t it be fun and a good learning experience at the same time? Fadi told us.

Currently, this prodigious pianist is evaluating the possibility of continuing to teach in German schools full-time by 2022.

You Can Also Read: Mozart & Mambo

The Story Of Fadi Gaziri

Fadi Gaziri in his recording studio with pianos around — Fadi Gaziri played the piano first time at the North Pole in August 2021

Fadi Gaziri is a natural music producer and composer for audiovisual media, film, and theater. He was born in Moscow and began his musical studies of piano and violin at the famous Gnessin Music Academy.

At age 12, he moved to Sweden with his family and later to England (1998) where he continued his musical training.

This extraordinary producer studied Music Composition, Piano, and Languages at Durham University in 2004 graduating with great honors and passing his ABRSM piano exams with distinction. Two years later he entered Bournemouth University to study for a Master’s in Film Composition.

That same year (2006) Fadi moved to Hamburg and started working on music for commercials, films, and sound branding. At the same time, he began touring the Netherlands, Sweden, Norway, and Germany accelerating his musical career.

In 2014 Fadi released his first solo album titled Northern Lights, a mix of cinematic and folk sounds that he combines with electronic texture. He used his technological knowledge to loop while playing piano, violin, and adding subtle voices that he performed himself.

Over the next three years, Gaziri released his second EP “The Jump”, founded a music supervision company, and has been dealing with song placement, and licensing for film and television ever since. He assumed a permanent position as an in-house music producer at TUi Cruises in Berlin and composed, and arranged music for more than ten theatrical productions performed on board the ships.

Cristian Cuevas is a Versatile Producer, Singer-Songwriter and Pianist

From Santiago de Chile to the world

International Salsa Magazine / www.SalsaGoogle.com and its leading correspondent in Miami, Diana Marie, awarded “La Dama de la Salsa 2021” by Richard Roman’s Salsa Superior, are privileged to present one of the most important bastions of our Latin music Cristian Cuevas.

It all began when his father brought home a keyboard one afternoon. Cristian Cuevas, born in Santiago, Chile, began playing the piano at the age of 6.

It was immediately evident that he had a gift and by the age of 8 he was playing with local bands and artists. playing with local bands and artists, all over Chile. When Cristian was 9 years old, his talent caught the attention of Chilean media, and he became a constant musical guest on “Buenos Dias a Todos”, the best late-night show in Chile at the time.

due to the success and exposure gained while working on “Buenos Dias a Todos”, Cristian was contacted by the producers of Univision where he was asked to fly to Chile to work on the show here he was asked to fly to Miami FL, and perform on the TV show “Sábado Gigante”.

After performing on the show, Cristian was offered a permanent spot on Sábado Gigante’s children’s segment and Cristian at age 11 moved with his family to Miami where he began his musical career.

By the time Cristian was 17, he was teaching as an instructor for local middle schools and high schools in Miami such as Miami Killian High, Felix Varela High, and Glades Middle School.

Portada Cristian Cuevas — Cristian Cuevas – Ganas de Ti

When he was 18, Cristian began to gain recognition among the Miami music scene and quickly began his first tour with Sonora Carruseles and other artists in the Miami salsa scene.

Today, Cristian Cuevas is one of the toughest working musicians in South Florida, he is also working as a musical director and composer for television shows on various networks such as Telemundo/NBC and Mega TV, and whether he is performing at sold-out venues around the world, playing on national television for millions of viewers, or recording from his home studio.

At 30 years old, Cristian Cuevas continues to write his musical journey while currently working as a producer and arranging his own upcoming album where he is featured singing and playing the piano.

Work history: Cristian has performed and toured the world with worldwide recognition award winning artists in the Latin music industry, such as: Jon Secada, Julio Iglesias Jr, Gilberto Santa Rosa, Oscar D' León, Elvis Crespo, Charlie Zaa, Tito Nieves, La India, Luis Enrique, Sheila E. — Cristian Cuevas, Manolito Rodríguez y Kachiro Thompson

Work History: Cristian has performed and toured the world with world-renowned award-winning artists in the Latin music industry such as: Jon Secada, Julio Iglesias Jr, Gilberto Santa Rosa, Oscar D’ Leon, Elvis Crespo, Charlie Zaa, Tito Nieves, La India, Luis Enrique, Sheila E., among others.

While on tour Cristian has also shared the stage with names such as: UB40, Kool & The Gang, Judith Hill, Willie Colon, José Feliciano, Rubén Blades, Gloria Trevi, among others.

Contact

Cristian Cuevas Productions

Miami FL

[email protected]

Tel: 786-768-9422

Facebook: Cristian Cuevas

Source: www.CristianCuevasMusic.com

By: Diana Marie Miami Correspondent for International Salsa Magazine

Supporting Emerging National and International Talent

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