Search Results for: Puerto Rico

Izis La enfermera de La Salsa talks about her passion for music and nursing

This is our interesting conversation

Right now we are talking to Izis La Enfermera de La Salsa Good afternoon, Izis, how are you today?

I’m super happy and feel very blessed. I believe that being healthy is already a great blessing.

One of the things about you that has caught my attention the most is the name you chose. Why are you called Izis La Enfermera de La Salsa?

I have been a military nurse for the last 15 years. I mean, I’m a soldier in the United States Army. I work for the army as a nurse.

La Enfermera de La Salsa

So you use that name because of your first profession.

That’s correct. I loved the name because I believe that music has the power to cure, distract and heal. So, I think that mix was perfect. The fact remains that the name comes from my profession, but I also use music as part of the cure for my patients.

You come from a musical family. Evidently, that also influenced the path you took later on. What did you like most about the musical world while still a child?

I was born in Puerto Rico and my parents are Puerto Rican, but I moved out because my dad served in the army, so I followed in his footsteps. Indeed my family is musical and specialized in jíbaro music, which is very typical in Puerto Rico. I think this was the connection with my native island and my family, so to speak. When I listened to their songs, it inspired me to follow this path and, in particular, salsa was the genre with which I have made the strongest conection. My parents listen to a lot of salsa music and I fell in love with it. Since I was a child, I always wanted to be involved in these activities of dance and song.

Your first instrument was the flute. Do you play any other instruments?

I play a little bit of cuatro, which is the Puerto Rican string instrument, but I focus more on the flute and the vocal part. I used to play flute in classical music when I was in school, but I never thought I would use it in salsa. It’s the perfect combination.

How have you managed to combine your facets as a singer and a nurse?

That’s the question my family, friends and co-workers always ask me. My answer is that my profession requires 12 hours, but the advantage I have is that I don’t have to work every day. I take advantage of my spare time to pursue my other passion which is music; that’s why I always tell people that music is like my baby. Those who have children know that you have to make many sacrifices for them. That’s the same thing I do for music. Sometimes, it may happen that I don’t sleep or eat well, but I pour all that passion into music.

When asked how I combine both facets, I think I use my two passions to serve others. What feeds my heart and soul is to serve, so I serve my nation as a nurse and soldier. As a singer, I serve my community and anyone who listens to my music. That’s what fills me with energy.

Izis playing the flute

Salsa as a medicine

I recently interviewed Jérôme Martin, a Frenchman who runs an Internet site called La Salsa Es La Cura. When asked why he uses that name, he replied that salsa and music heal everything, whether it’s a physical or emotional pain, do you agree with that statement?

I totally agree. Karina, I began my career as a general nurse, but there came a point where I had the opportunity to specialize as a labor and delivery nurse. However, I felt I was missing something and that’s where I made the change for mental health. It is in this field that I have seen results related to music.

Although I was not a psychiatric nurse, I have had moments in which I have cared for patients with pills as I have mentioned in other interviews, but I felt they needed something more. When I started singing to them, I started noticing physical and mental changes. I remember a comatose patient who, when she came back, told me that all that she remembers was my voice. So, I myself have seen and experienced what music can do for your health.

Psycho-oncologist Argelia Melet states that the physical part won’t improve unless the mental part is well. In fact, she uses music in several of her therapies. It has much to do with what you are telling me.

That’s is absolutely true. If you don’t feed your body and your mental health, you are going to fail in many things.

Izis performing on stage

How was your musical activity during the pandemic?

As a soldier, at that time, the army had sent me to a town in the middle of the desert and that’s when I knew that I would not be able to have so much musical activity because I was far away from everything. I did events for the military community here and there, but all that is over because of Covid.

At that time, I started recording and connecting with other people through a virtual initiative called Corro Con Salsa with which people can listen to this genre from anywhere and at the same time. The point of the show is to exercise with music and that project combines everything I believe in, that is, the physical, mental health and music. That made me cheer myself up a bit, as I was a little sad not to see my audience. As artists, the audience is our fuel.

During the pandemic, I got connected to my musical roots, that is to say, my uncle, my aunt and my cousins. We join together to make a song together online, which I don’t believe we could have done without Covid due to our occupations.

Let’s talk about your new album and the genres in which it focuses on.

You know that my passion is salsa, but I sing anything. I usually record salsa, but I have also recorded several bachata songs and one or another merengue song. However, I am no longer focused on albums because the release of a full album is not like it was before. Now, what I’m doing is releasing one song at a time. I’m releasing a Madonna song in a salsa version called Like A Prayer. I have been releasing songs in English because I live in the United States, so if I want Americans to understand me and feel the same passion for salsa, we have to have something in common, that’s where the language comes into play.

Besides music and nursing, what other passions do you have?

I love to paint. I paint on hats, shirts and many other things. This passion for art is like an extension of my passion for music and my way of connecting with the public because, oftentimes, I perform on stage and then I go to my sales kiosk where I interact with my fans, sign autographs, paint hats, among other things.

Almost all of my designs are related to music. In fact, many important artists have used them such as Larry Harlow, La Sonora Ponceña, El Gran Combo, and so on. Almost all my designs include musical notes, maracas, drums, among other musical elements.

One of the hats where Izis has painted

Enriching conversation with Afrocuban music group Okan

Here is the interview

We are here with the Cuban Group Okan whose members, Elizabeth Rodriguez and Magbelis Savigne, are based in Canada. How are you, girls?

All right, thank you very much!

It’s a real pleasure for me to have you here. How’s it going?

We’re doing great and trying to start over after this big break. We are ready to be on tour very soon and do more things.

Elizabeth Rodriguez and Magdelys Savigne, members of the group Okan

Where is the name Okan coming from?

We wanted a name that had something to do with our Afro-Cuban roots, so we were doing some research on the closest thing to what we wanted. So, Okan comes from the Afro-Cuban dialect meaning heart. Elizabeth’s saint’s name is Okantomi which means Heart of Oshún, so we thought that sounded perfect for the kind of music we make that comes from our heart. We wanted to pay homage with that and have a name that Canadians could easily use. There have always been problems with the band’s name because they didn’t know how to say it, so Okan seemed to us the most appropriate.

In your music, the essence of Cuba stands out over everything else, but I imagine that your songs are also a mix of what you have learned since you left your country.

Yes, definitely. We have understood and learned that Cuban music is very good, but there are also many other things in the world. Living in Toronto has helped us to see how diverse music is and how similar it is to Brazilian or Turkish music, so you can say that we are influenced by different cultures and try to make music from the heart, from what we learned and from what surrounds us. In that sense, Toronto has many things to take advantage of

Which foreign rhythms have you been including in your work?

In addition to Cuban rhythms, we have also included Brazilian rhythms. We love Brazilian music and have a great love for Brazil – we include classical music genres as well because the two studied classical music in Cuba, so we are also influenced by that. Our next album is going to have a bit of Afrobeat, so it will be a bit more commercial than what we’ve done at the moment.

Living in Toronto helped Elizabeth and Magdelys to see how diverse music is

What did Jane Bunnet mean to you and other artists of your kind?

For us, she represented the opportunity to be able to go to festivals and learn more about the business. Of course, we learned by ourselves, since she taught us nothing. However, those tours gave us a lot of experience. The most important thing about playing with Jane Bunnet was to have gained experience and participated in important events we would’t have attended on our own. I think the most important thing was being able to achieve so much on our own and to play Afro-Cuban music representing the Afro-Cuban race and culture

Future genres

Are there any rhythms or genres that you don’t like or haven’t tried?

One of the songs on our next album is influenced by the rock of the 60’s because we like it a lot. Right now, there is some kind of Cuban reggaeton that has become very popular, but we haven’t done anything with that urban genre. We don’t really listen to the latest kind of reggaeton, so we prefer Afrobeat. We don’t say we’ll never do it, but we have to find some exponent of the genre who knows more about it to inform us. We have done some collaborations with Lido Pimiento and Bomba Estéreo.

We want to recover old Cuban genres that many people don’t know, which is why we have sung mozambique, pilón, changüI, among others. Cuban music is very broad and we got a long way to go in that regard.

I have noticed that the coloring is very important for you and this can be seen in your album covers and outfits, which are very colorful. What do you want to reflect with that?

What happens here is that clothes are super boring (chuckles) because many people dress in black or gray. In contrast, in Cuba and Latin America in general, people have always worn much more colorful clothes and we took that. Also, we met a Nigerian designer, who is the one who makes our clothes and outfits; besides, our Afro-Cuban roots also come from Nigeria, so we wear those clothes in honor of our ancestors. At first, we were doing this because it looked nice, but then people started asking why we did it, so it’s part of us now.

The coloring is very important for Okan

What reaction does the Canadian public to your outfits and music?

For the most part, the reaction is very positive. Many people say they came back to life when they hear us sing. We met a Cuban woman who had many years without going to Cuba and was very excited to hear us and that made us very happy because that’s the reason why we make music. Even though Canadians don’t understand the language, they like it because they see the chemistry between us and the musicians. People can see that and connect to us, even if they don’t understand the lyrics.

What have been the biggest obstacles you have had to face as immigrant artists?

The first problem is that people in this part of the world don’t respect the music done by professional musicians as much as they should although everyone consumes this product. In fact, payments do not correspond to the work done because people think that having a concert is very simple, but that implies a lot of prior preparation, songs written, sound tests, rehearsals, among other things. After all that, they want to pay 100 pesos for a concert. Music is not appreciated as a career and we consider that to be one of the main challenges we have had to face.

The other issue is that we come from a system in which we are not taught how the music business works. Behind it, there is a huge industry and a huge business, so you have to suffer so much to learn it.

Language is another barrier that closes many doors. Our advice to those who hear us is to know that it is possible make a living from music, but you have to speak the language of the country where you are living. You also have to find a good manager who believes in you and in your music; if it is someone born in the country, so much the better.

These girls have to face some obstacles as immigrant artists, but it was all worth it

How do you see the role of the internet in music?

We believe that excess is bad. It’s not fair what Spotify and other digital platforms pay, but you also have to understand that your music gains access to a larger audience. We’ve heard of people listening to us from Russia, Poland, Brazil, Colombia, Puerto Rico, Australia and many more countries. You have to see the positive part and understand that you can reach audiences from anywhere in the world. We can’t view the internet as an enemy, but as a tool and an advantage; it has its negative aspects, but many positive things.

What will be the name of your new album?

The name of our new album will be Okantomi, Elizabeth’s saint’s name and each track will be very different from the other one in terms of rhythms. We will have many guest artists and a super special song dedicated to Cuba in relation to the current situation, but seen from the point of view of Cubans in exiles. It will be called No volví.

Occupations when you are away from the stage

We give music, violin, singing and piano lessons.

Cuban singer Daymé Arocena and her pride of being Afrocuban

This is our conversation

Here we are with Cuban artist Daymé Arocena who lives now in Canada. How are you, Daymé? Nice to meet you and great to have you here today.

Hello, nice to meet you. Thank you very much for the invitation. It is my pleasure to be here talking to you.

I understand that your musical career started at the age of eight. What made you start walking this path? What was the experience that made you make that decision?

I never made the decision to become a musician. I think it was part of the package. I never said that this is what I wanted to do because I’ve always done it. From the age of eight, my parents began taking me to music lessons and preparing me to came to the art and music school and the conservatory of music. I started singing with the choir in the community of 10 de octubre, where I came from. That’s how I started performing and getting up on stage as a soloist of a choir.

Daymé Arocena was born in Havana, Cuba

Considering that you come from a musical family and that music was always present at home, I imagine that also influenced your interest in making a career of it.

My family is profoundly musical, but they are not professional musicians. My dad is a music lover, but he is not a musician. My mother is a health care worker, qualified as a child cardiovascular surgeon. Actually, these are people who have a very nice sensibility for music, but they are not professionally dedicated to it.

I grew up in an intense environment. My house had many people; when I was born, there were already 22 people living at home, but some of them found more comfortable spaces to move and we became a family of 14. I was born in the 90’s, which was when the big crisis occurred and big power cuts were more frequent. There were electricitiy for very few moments during the day, so we couldn’t listen to the radio or TV. Then, my uncles and cousins kept singing, so I grew up watching the family sing and dance. In fact, several of my cousins today are folk musicians who went on to play in various traditional musical groups. It was a deeply spontaneous issue. I saw people enjoying and trying to alleviate the sufferings and shortages they were experiencing.

I imagine that musical and artistical growth in this context was very difficult. What challenges did you face in Cuba in becoming the artist you are today?

The mere fact of being born in Cuba is a challenge, but I had to face things beyond the fact that I was born on an island ruled by a dictatorial regime and all that that means. There was a lot of deep racism and a way to slyly to deal with social classes. For all these years, I have tried to purge my energy of resentment and pain caused by the situation and turn all these feelings into light and creativity. In my case, A lot of things happened like feeling uncomfortable in my own skin and not knowing how to deal with my skin color, my hair and my race. Today, I am deeply proud of my blackness and defend it to the death, but I went through a very hard and aggressive process before that.

The young and not so young prople have to know that you can make art and music through your own essence without having to please the eyes of a few.

So you would say that those things that were an obstacle are now part of your cover letter.

Totally. And proudly, too.

Daymé is deeply proud of her blackness

After leaving Cuba

When you left Cuba, what kind of support did you receive? What was the hardest moment?

Although I’ve spent years touring and working for years, I made the decision to leave Cuba a couple of years ago. I received a lot of international support that made my music visible, but it started playing long before I left my country. In Cuba, there is a control mechanism for artists consisting on a permit issued by the minister of culture to be able to practice that profession.

You can graduate from art school with full honors in the world, but that’s irrelevant because you graduate to be a music teacher, not a musician as such. In order to go on stage and get paid for your work, you need a permit issued by the Minister of Culture himself. To get it, you have to go through a lot of bureaucratic barriers such as commissions, auditions, among others. I didn’t have that permit to sing and profit from my singing when I met the record label that launched me as an artist. One day, I was singing in a deeply underground space without anyone’s permission. When I started to sneak into those spaces, my mom always told me to sing with energy because I never knew who was going to listen to me.

One day of those, a person named François Renié was watching me from the audience. This man was the creative director of the Havana Cultura platform. At that moment, they asked me to make a record with international DJs and singers. They invited me to do a casting, I showed up there, was selected and recorded the album despite not having permission to sing. When I was invited to the realease of the record in England, I showed them the music I Wrote and they offered me to sign with them officially.

You have been compared to Celia Cruz, Nina Simone and other artists of this stature because of your style, what do you have to say?

I had no idea who Celia Cruz was and it’s something I’m ashamed of. When I was compared with Celia Cruz, I wondered who she was. I think I really knew her following those comparisons.

Daymé thinks new generations have to know who Celia Cruz was

I think it has to do with that idea of homogenizing Cuban music into one thing. It was when I was compared with Celia that I started to find out about her and knew that she was the most universal of Cuban artists. She had a phenomenal way of petforming, transmitting, impacting and being as authentic. Musicians who do have access to Celia must do their utmost to let the new generations know who she was. If they can’t listen to her on the radio or TV, they can go online to listen to her and find out who La Guarachera de Cuba was.

How do you think Canadians perceive your music?

I have done very few concerts in Canada as a soloist. In fact, I’m not even there at the moment, but in Puerto Rico. I can’t provide an overview of how Canadians perceive me, but I do think that they are super friendly, docile and open to all kinds of music. They appreciate, dance and enjoy whatever you play. I must thank my ancestors for the expansion of my music beyond the Canadian framework, so I don’t rely on that market for a living.

Do you plan to stay in Puerto Rico permanently?

I came to Puerto Rico to record my next album. I’m super happy and honored to be able to do it on this island so similar to mine because it has so much culture and colorful art. Here, I found the industrialization and visibility that Cuba doesn’t have. I still don’t know if I’m going to stay here for the rest of my life, since Canada enters into my plans in some way, but this is the stage I must live now.

Daymé Arocena is now living in Puerto Rico and recording her new album

Palladium in the New Millenium engalana el “Lehman Center for the Performing Arts”

On March 5, 2022, the heirs to the mambo will reunite once again, this time the concert entitled Palladium in the New Millennium will grace the Lehman Center for the Performing Arts in the heart of New York’s Bronx.

This concert coincides with the coming of age celebration of the establishment of The Big Three Palladium Orchestra. The initial idea of bringing together the three great Palladium orchestras in this innovative concept came to Mario Grillo, better known in the music world as Machito, Jr. approximately twenty-one years ago.

His counterpart, Tito Rodriguez, Jr. told me about it and, thanks to his complicity, I had a pleasant conversation during which Machito, Jr. shared with me a myriad of details. Having previously collected and shared the conversations I had with Tito, Jr. and later with Machito, Jr. I must now share the point of view of the youngest of the three mambo heirs -Tito Puente, Jr.- about this trilogy, among other things. During the beginnings of this historic reunion, Tito Puente, Jr. was barely 30 years old.

As with me, the two oldest members of the trilogy have been very supportive of Tito Puente, Jr. During an exclusive interview granted for this special assignment, Tito Puente, Jr. expressed his deep appreciation for having been so lovingly guided by Tito Rodriguez, Jr. and Machito, Jr. to the recording of what has become the legacy of the Palladium big three: The Big Three Palladium Orchestra live at the Blue Note (2004).

On March 5, 2022, the heirs to the mambo will reunite once again, this time the concert entitled Palladium in the New Millennium will grace the Lehman Center for the Performing Arts in the heart of New York's Bronx. — Palladium in the New Millenium engalana el “Lehman Center for the Performing Arts” en pleno corazón del Bronx de New York

The youngest of the three heirs of the mambo is doubly celebrating, as he has just released his sixth production, entitled The King and I. It contains nine tracks, as you can hear on the album. It contains nine tracks, as detailed below: Picadillo, featuring Humberto Ramírez on trumpet; Salsa na ma, featuring José Alberto “El Canario” on vocals; Pa los rumberos, with a masterful performance by Domingo Quiñones; Oye como va, with a performance by “Mulato Rumbero”, Michael Stuart; Para la niña y pa la señora, with none other than Miguel Angel Barcasnegras, better known as “Meñique” (EPD) on vocals; Hong Kong mambo, instrumental theme that highlights the Puente dynasty, with Ronnie Puente on xylophone; El bribón del aguacero, with Yolanda Duke on vocals; 20 años and El Rey del Timbal. Let’s be clear that this album is not the big band arrangement to which the eternal King of the Timbal has accustomed us. It is, however, the best tribute that the youngest of the three heirs of the Palladium pays to his father, keeping the legacy alive and kicking.

As you can see, each of the “Palladium’s Big Three” inherited a timbalero son. Coincidentally, Machito, Jr., Tito Rodríguez, Jr. and Tito Puente, Jr. grew up surrounded by music. Their family environments, respectively, supported them. Indeed, today, all three are musicians. These three bandleaders have made it their mission to keep the Palladium legacy alive and well. Although the mambo heirs have transcended the label of being the sons of the mambo owners, they do not forget that the Patriarchs are still a topic of conversation in musical circles around the world.

As the past is the past and the future is uncertain, here we are already waiting in despair. For this new reunion, first-class musicians have been secured, backing up the three heirs of the mambo. The musical constellation that will be part of this historic night is formed by: Carmen Laboy on baritone saxophone and musical direction, Jorge Castro on tenor saxophone, Mark Friedman and Al Acosta on alto saxophones; Larry Moses, Seneca Black, Mike Mossman, and John Carlson on trumpets; Gilberto Colón, Jr. on piano, Jerry Madera on bass, John “Dandy” Rodríguez on bongo and Eddie Montalvo on tumbadoras. On the vocal front, Sammy Gonzalez, Jr. leads with Luisito Rosario and Jeremy Montalvo on backing vocals.

I for one continue to live in salsa, which to put it in more earthly terms is, simply put: magic, fantasy, and illusion.

Article of Interest: Sigo entre amigos de Luis “Perico” Ortiz

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

Memo Arroyave, entre las voces más importantes e impecables del Caribe

Considered as one of the faithful representatives of Venezuelan salsa, the young vocalist Guillermo José “Memo” Arroyave, born on July 22nd in the city of Caracas, arrives to “Salsa Escrita” for an exclusive interview.

Memo Arroyave, continues to project himself with more and more quality and professionalism, characteristics that define him in the Caribbean music genre at the national and international levels.

In a pleasant and enjoyable conversation with Memo, he told us about his career and his current and future projects.

Memo Arroyave, welcome to Barquisimeto’s salsa column “Salsa Escrita”; it is a great pleasure for us to have you as our special guest and we would like you to tell us about your beginnings in your artistic career.

-Thank you Carlos for the opportunity you are giving me to reach your readers in a direct and fraternal way.

My beginnings in the world of music and show business date back approximately to 1996, when I was a student of the successful Venezuelan Rafa Galindo (R.I.P.D.), the musical legend of our country.

Then I ventured into the stages forming part of different groups in Caracas, such as Partitura Latina, Orquesta Gente Novel, Orquesta Ensueños, Galaxy Latin Band, El Código Salsero, among others.

-Memo, which artists have you shared the stage with, what can you tell us about them? Professor Carlos, I have had the opportunity to share the stage and accompany, on occasions, as a soloist and others as a backing vocalist, national and international artists of the stature of: Andy Montañez, Ismael Miranda, Viti Ruiz, Christian Fernandez, Adalberto Santiago, Pupy Santiago, Paquito Guzman, Roberto Blades, Jose Mangual Jr, Max Torres, Wichy Camacho, Willman Cano, Nino Segarra, Nelson Arrieta, Marcial Istúriz, Mandinga Star Band, Wílmer Lozano, Wiwi Buznego, Wílmer Cobos, Cheo Valenzuela, Miguel Araujo, Erick Franchesky, Irving Manuel, Ángel Flores, Samir Bazzi, Manuel Guerra y su Orquesta, and in December 2019, I shared the stage with Hermán Olivera, Luisito Carrión and Frankie Vásquez.

-Regarding current projects, what can you tell us about them? I am part of several projects simultaneously my friend Carlos, among which stand out: Orquesta Puma Band, Victor Cardona y la Máquina de la Salsa, La Rumba Sonora de New York, Afro Códigos and recently I was invited to participate in the 10th Anniversary album of “Los Rumberos del Callejón”.

Well Memo, for all that you have given us to know about your talent and dedication, you are an obligatory reference of the salsa show and we would like to know about your most recent and future projects.

-In fact, I recently recorded and released the song “Si falta el Aire”, a composition by the Spaniard David Santisteban, with arrangements by Enmanuel “Cerebro” Romero and under my production.

It was recorded in Caracas, Mexico, Miami, and New York, mixed and mastered in the Venezuelan capital, as part of my first musical production. Other of my hits are: “Y lloré”, “No Puedo estar sin ti”, which I did a duet with Rafael “El Pollo” Brito. And as a scoop for your salsa column “Salsa Escrita”, I already have the next promo ready and it is a duet with NG2 from Puerto Rico and last week was the release of the song with José Madera Niño “3º Mundo”, titled: “Me gustas pero…”, which is sounding strong and last year I recorded for a Colombian pianist, but he is based in Washington, United States, which made an album called “10” and among other singers participate: Rodrigo Mendoza, Mariana “La Sonora de Venezuela”, Marcial Istúriz, Gonzalo Díaz, Mike Barrios, which is a talentazo of Zulia state, who is currently in Mexico, my person and other people from other countries.

Soon I will be in the production that is in the process of mixing and where Argenis Carruyo, Oscar Arriaga, Wichi Camacho, and others also participate.

-Excellent Memo, I understand that in addition to your facet as a singer, you also dabble in the media?

That’s right professor, let me tell you that I am the nephew of Fernando Sosa Leal, I have done radio and television since 2002; I started with a radio program in the state of La Guaira, I was the director of the musicalization of Azul 95. 9 FM, then we did “Mundo Latino”, there I was as an animator with Fernando Sosa Leal and Luis Arturo in CMT, then in TVES, but I leave the project to devote myself more to my singing career and also went several times to Puerto Rico to the editions of the National Salsa Day, World Salsa Congress, to give coverage from there for all Venezuela and the Caribbean and recently as the producer of Strike 13 with Fernando Sosa Leal in his Bowling program for Meridiano TV.

Carlos, I wanted to thank you for the focus you give to the singer through your salsa column, if I may say individually and not so much as choristers, which of course is important, but in your work and interviews we have read the support and contribution you give to our musical productions and recordings with orchestras, since this way we make ourselves known to music lovers as well as to the public.

Finally, I want to thank you for your time and congratulate you for this work that you do with a lot of enthusiasm, with desire and that should be appreciated not only by me but by all musicians, artists who are giving it their all and that, if it were not for people like you, it would be even more difficult.

-Your social networks? Through @memomedicen, they are my accounts in R.R.S.S. Thanks, Memo for this connection we had and thank you for accepting the invitation to Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsaGoogle.com, we would also like to have you performing in our twilight city and musical capital of Venezuela and remind all artists that we are to serve them in an unconditional way in favor of our Latin music and obviously the Venezuelan talent that is unquestionably superior every day.

See you next time and let’s keep salseando!

Article of Interest: Henry Valladares, a brilliant, versatile, and disciplined percussionist