Search Results for: Rumba

JD Productions, Erika Muñoz and International Salsa Magazine Present Jesus Pagan Acevedo

Jesus Pagan and his Orchestra Salsa Artist, Singer, Composer and Producer.

He began his musical career in 1991 as a percussionist and backup singer with various tropical music and nueva trova groups in Puerto Rico, being the Andrés Jiménez “El Jibaro”‘s group the best known amont those at that time.

In 1997, Jesús moved to the state of Massachusetts to get on with his life and continue his duties privately until he was invited to share a rehearsal of the Carlos Pabón’s orchestra, brother of salsa singer David Pabón.

That is when he again took the path on music, this time, as a lead singer. His name quickly ran throughout New England letting slip that this little guy was a great singer and sonero. Local orchestras such as The Latin Heartbeat, Komboloko, Ray Gonzalez, Eguie Castrillo and Frankie Rodriguez Y Homenaje A La Salsa immediately opened to him the doors and opened the plate to stand out as a great singer and sonero.

By 2008 Jesus Pagan was counting in a vast experience as a singer, sonero and composer, so he decided to release his first album under the title “Salsa De La Mata” becoming the new sense of the art of soneo in the genre he loves, Salsa. This album immediately became a classic of modern salsa.

Figures such as Hector “Maximo” Rodriguez, Eddie Montalvo, Ray Castro, Luisito Quintero, Joe Fiedler, Ray De La Paz and Lucho Cueto are among the talents in this recording which earned Jesus Pagan a Paoli Award and a U.S. Grammy Award nomination.

After this recording Jesus Pagan has released 3 other albums including one that he considers very special in his career which is “Ya Llego Conjunto Barrio”, “Somos Del Barrio” which he produced locally in the area of Springfield and Holyoke Ma. with musicians of the local salsa scene and internationally renowned figures.

Currently, Jesús Pagan is in the initial phase of what will be his new salsa work and has also recorded with other orchestras and artists in several genres as a guest artist, backup singer and composer.

Currently, Jesús Pagan also works as a chorister and singer for many of the best-known salsa artists in his environment. As a chorist, he has accompanied artists such as: Ismael Miranda, Tony Vega, Johnny Rivera, Adalberto Santiago, NG2, Frankie Negrón, Ray De La Paz, Raulin Rosendo, Wilmer Lozano, Héctor Tricoche, Tito Rojas, Roberto Blades, Willie González, Giro, Michael “El Buenon” and many others. As a singer, he has performed with: Larry Harlow, Richie Ray, George Delgado Y Conjunto Neoyorquino, Conjunto Classico, Alex Torres, Luisito Rey Y La Dinámica, Orquesta Dicupe and many others who have invited him to be part of special performances.

Recently, he returned from a super successful tour in Medellin, Colombia where he was the guest singer for the classic salsa orchestra from New York, the Dicupe orchestra in a sold out concert, over 10,000 people at La Macarena bullring.

His dreams realized include his performance at the most famous concert hall in the world, Carnegie Hall in New York City at a sold out concert with Puerto Rican percussionist Eguie Castrillo’s The Palladium Big Band and “The Gentleman of Salsa” Gilberto Santa Rosa featured as a guest artist by the year 2012.

Jesús Pagan also had the honor of being one of the main singers to salute the memory of Puerto Rican composer Rafael Hernández in a concert in his honour at the Mortenzen River Front Town Square in Hartford Ct and sang together with the son of the celebrated composer Chali Hernández.

Another of his achievements was to open 2 important concerts for renowned figures of the salsa scene. The first one at the UMASS Fine Arts a sold out concert with singer La India and the other one at the Boston City Hall for “Salsa’s bad boy” Willie Colon.

JD Producciones Presenta a Jesús Pagan Acevedo

Jesús Pagan Y Su Orquesta Jesús Pagan & Conjunto Barrio

JD Productions Exclusive Artists

For booking: 413-297-8937 / 413-505-4745 E-mail: [email protected]

Artist Manager: Damaris Rivera de Pagan

Our Available Music Catalogue

www.cdbaby.com/jesuspaganorquesta

www.cdbaby.com/jesuspaganysuorquesta1

www.cdbaby.com/conjuntobarrio www.cdbaby.com/cd/

Erika Muñoz

By: Erika Muñoz

La Mulata Rumbera

“Se Armó la Rumba en México“

International Salsa Magazine Correspondent

International Salsa Magazine

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Tito Rodríguez, Jr. “The Palladium legacy lives on”

Timbalero, Arranger, Composer, Producer and Band Director, Tito Rodriguez, Jr. is one of the most important timbaleros of Salsa and Tropical Music as well as being one of the heirs of the mambo.

I had previously listened to, analyzed and shared my impressions about Transición (2017), by Tito Rodríguez, Jr. In conversation with Tito himself, he confirmed that Transición is his fourth album and the first to carry a Spanish-language title. We are doing well, Tito. This album was preceded by:

Curious?

Un clásico de 1978, originalmente en el sello TR de su padre. Con Sal Cuevas, Cachete, Ruben Figueroa, Gilberto Colon, un joven José Alberto El Canario en la voz - y una sección de coro con Adalberto Santiago y Ruben Blades. Vaya. ¿Curioso? ha sido una de las reediciones más solicitadas de la línea TR y los arreglos y el groove demuestran claramente por qué — Curious? (1975), featuring Adalberto Santiago, José Alberto “El Canario” and Rubén Blades.

Eclipse (1994) y

A classic! In the summer of '94, the Eclipse cuts and the infectious Erotic Woman. — A classic! In the summer of ’94, the Eclipse cuts and the infectious Erotic Woman.

The Big Three Palladium Orchestra live at the Blue Note (2004).

“The Big 3 Palladium Orchestra already may rank as the most brilliant large Latin jazz ensemble this side of Havana.”

The idea of bringing together the three great orchestras of the Palladium was Machito, Jr.’s, whom I will be approaching soon.

Promise is a promise, so here I am to elaborate a bit on what I left out of the previous report.

Why the title Transition?

For much of his productive life, Tito has held a conventional job so music has been his part-time love. Well, we should clarify what this so-called “part-time” has meant for Tito because even part-time, from 1994 to 1999 his orchestra was performing once a month at the world famous Copacabana in New York City. On the other hand, The Big Three Palladium Orchestra live at the Blue Note secured him a promotional tour – through Brian Theobald of BPR Music – that lasted a whopping eleven years.

Well, now it looks like Tito is getting ready to hit the stages that have been waiting for him so long. So get ready, what is coming is not from friends. I wonder if the title track Volver had something to do with Tito’s dream of surrendering to his first love: music.

Tito has been consistent in following the musical line of his progenitor’s orchestra although he has managed to modernize the baseline, adding his own forceful stamp. That is why the musical line of Tito Rodriguez, Jr.’s big orchestra is more modern without straying from the classical foundation.

Reading several articles, I stumbled upon one by Robin Denselow published in 2010 for the international newspaper The Guardian. My chest swells with Puerto Rican pride when I review the legacy left by the “Mambo Kings”: Machito, Puente and Rodriguez, those 3 bandleaders who transformed the American music scene. The Palladium located on Broadway and West 53rd Street no longer offers mambo, chacha or rumba but the musical legacy of the mambo kings remains more alive than ever. According to Denselow, when that Palladium Orchestra took the stage with a brass section it was Tito Rodriguez, Jr. who first led that historic reunion. According to the British view Rodriguez, Jr. lovingly revived his father’s compositions while showing off his percussion skills.

This was just the hors d’oeuvre for when Larry Harlow arrived to raise the bar even higher. Of course, having the luxury of having the pianist hero of not only the mambo kings but also the Fania All-Stars was no small feat for these virtuous offspring. Perhaps they are the offspring of the most influential trio in Latin music.

Back to Borinquen: In 2009 Tito Rodriguez, Jr. was in Puerto Rico fulfilling one of his musical dreams. With that dream in his suitcase, Tito, Jr. arrived behind his timbal to lead a very large orchestra.

Once on Puerto Rican soil, they joined that dream: Luis Nazario “Güiriche” on conga, Paquito Corselles on bass, Luisito Marín on piano, Pablo “El Indio” Rosario on bongo; Emilio Reales, Darío Morales, Simón Rivera and Edwin González on trumpets; Rafy Ruiz and Al Schnitzler on alto saxophone; Nelson Vega and Wilfredo de la Torre on tenor saxophone plus Angel “Chiqui” Vidal on baritone saxophone.

On vocals, Josué Rosado was backed by José Miranda and Juan Manuel Lebrón on backing vocals.

On that occasion, the orchestra performed in the Chucho Avellanet Show, at the gala of the Puerto Rico Chamber of Commerce, at the Yagüez Theater in Mayagüez with the special participation of Chucho Avellanet.

The show that closed the tour in Puerto Rico took place at the Science Park in Bayamón. It is worth mentioning that Al Schnitzler and Emilio Reales were musicians in Tito Rodríguez’s orchestra in the 1960s.

Searching through the archives I think I fell for the performance of El Mulato Rumbero.

Although Tito, Jr. has not insisted on the label of being the son of the great vocalist Tito Rodriguez, it is not possible to escape the good shadow of being the son of a Puerto Rican glory who, almost fifty years after his death, is still a topic of conversation in musical circles.

WedSite: Tito Rodriguez, Jr.

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

WebSite: Bella Martinez

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Guspira Records Presents The Karamba release their first album “Camino Así”

The Karamba is a musical group formed by six women from Venezuela, Cuba, Catalonia, Panama, and Argentina. It is a multicultural mix that creates a new, special and powerful musical color.

Between the chaos, traffic, the city, and stress, they joined in 2018 with the name of the Karamba on the streets of Barcelona. Of the need to acquire strength, get rid of fears, and spread joy, members share their way of understanding music to claim the strength of women.

Together they have been strengthened, combining rhythms and tunes in order to compose a single melody that fuses son, chachachá, salsa, timba, and rap rhythms. Enthusiastic melodies that explode with effusion and a powerful message of protest and feminine sovereignty that transmits the full force of past generations who championed the feminist fight and change.

Since their union, and in just two years, the Karamba has become one of the most internationally recognized bands at large festivals in Europe. They were especially noted for their performance at the Eurosonic Noorderslag (ESNS) 2020, which is the most important professional music festival in Europe that takes place in Holland, and also at the Flawa Festival in London. They have also got Catalan audiences to fall in love with their presence at renowned festivals such as the Black Music Festival, Bioritme, Clownia, and the Esperanzah Festival, among many others.

Las Karamba is a musical group formed by six women from Venezuela, Cuba, Catalonia, Panama and Argentina. A multicultural mix that creates a new, special and powerful musical color. — The Karamba who are releasing their first album “Camino Así”.

The lyrics of their songs talk about the stories of all those women who kept silent, were under the shadow, fought alone during the course of history, and who could not explain. Now the Karamba endorse these stories in their new album “Camino Así” (Guspira Records, 2021).

The record starts off with “Presentes”, which is a clear declaration of intent. Through the music for the eponymous poem by Guisela López, they remark their values, objectives, and principles to the rhythm of a rumba tonada in collaboration with Erik Castillo, director of the group Compota de Manana.

With a Trap base, they surprise us with a change of register as they bet on electronic sounds that mark a considerable difference with respect to the rest of the songs. — The Karamba’s Cha Cha Chá takes us back to the life of “Margarita”

One of the values that take on special importance is gender equality. The Karamba leads us with a cha cha to the life of “Margarita”, a grandmother addicted to freedom. In the song “No Sabe Nah” they take a more vindicatory position, and together with singer Paula Grande, they call for the power of women. With a Trap base, they surprise us with a change in the register as they opt for electronic sounds that make a substantive difference from the rest of the songs.

The band is characterized by its constancy reflected in “Voy Subiendo” with the collaboration of trumpeter Yuri Hernández and trombonist Albert Costa. Slowly but steadily, the Karamba work to draw their path cut out for them. A path where they leave behind everything that weighs on them and does not work. In “Pasa la página” they look up to a relationship that is destined to fail.

Finally, Las Karamba strips off in "Basta Ya" — Finally, Las Karamba strips off in “Basta Ya”

With a salsa song that warms up in each beat, they encourage to look to the future with optimism and to overcome everything that has thrown them. Finally, in “Basta Ya“, the Karamba remove all social pressure and the alleged dogmas stipulated to be successful in life.

In “El Beso“, the first song they composed as a band, they remind us to love each other with intensity and continue the journey to the “Sabana”, a reflection on the frenzied pace of life that we talk. On a busy day-to-day basis, the Karamba invite you with their album “Camino Así” to relax, forget all the troubles and see the world in their own way following their tempo.

“Camino Así”, their first album, will be available on March 4th in physical and digital formats.

https://guspira.net/ca/las-karamba

LAS KARAMBA “CAMINO ASÍ” (Guspira Records 2021)

FormaGran Via de Les Corts Catalanes 1176 Bis 3º 5º (08020) Barcelona

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Mulenze The Orchestra of Eternal Youth

Edwin Morales, founder, bass player, director of Mulenze.

Orquesta Mulenze was born in 1976 thanks to the motivation of Edwin Mirales who was a young rocker back then and decided to switch his guitar for a bass and to form the YAMBO Orchestra, which served as a companion of artists such as Hector Lavoe, Celia Cruz, Cheo Feliciano, Ismael Miranda among others arriving to Puerto Rico without an orchestra; then it was later identified and we would know it as Mulenze.

The orchestra was created at a time when salsa was booming and was fortunate to have musicians, composers, and singers of great stature who are currently recognized among which we highlight Cano Estremera (El dueño del soneo) who later joined the Bobby Valentin’s band as a vocalist; In the chorus, singer-songwriter Pedro Arroyo who has contributed several of his compositions to Mulenze; in the piano, we have Andy Guzman and Eric Figueroa, the latter was one of the influencers in the style adopted by the orchestra, practicing a rather sophisticated and little revolutionary rhythm for the public who follows popular music.

Edwin Mirales at that time a young rocker who decided to change his guitar for a bass guitar and form the YAMBO orchestra. — The Mulenze Orchestra was founded in 1976, by the motivation of Edwin Morales.

Mulenze was one of the first orchestras to use synthesizers in salsa, rhythmically working outside the beat in which the clave pattern is established to give a jazz variation to their music; this innovation that was not widely accepted by the groups established at that time, although this would give respect and an identity of its own to the orchestra with its amazing arrangements.

Edwin Morales known for his first name only in his family circle. But if someone calls himself a salsero, he has to know who Edwin “Mulenze” is.

This bassist of Bayamon, who has performed with the most important exponents of the salsa genre, has written his own page in the history of this musical genre as the founder and director of the Mulenze Orchestra.

“Salsa will not die and I would say that it is in a fulfilling moment. The new orchestras, which are like us when the pillars of salsa were in full swing and we were called the youth orchestra, are carrying out their work very well.

To this is added a group of boys who are taking their dance academies to municipalities and have resurrected the salsa dancer,” said Edwin.

Pedro Brull continues to see him as the official voice of La Mulenze although he left the group in 2005 to start his solo career.

Edwin succeeded in establishing an identity for the orchestra and my singing style flowed really well with his proposal. But after 24 years, I wanted to seize the opportunity to record an album (Pronóstico).

Today I work mostly outside Puerto Rico and have to admit that I am traveling the world thanks to “La Mulenze,” Brull commented.

The event will take place in the "Carpa Salsera", this concert promises a resounding success since with more than a year and a half without live presentations due to the worldwide pandemic caused by the Coronavirus, thanks to the organizers Giovanny Lopera, Lucy Corres, Mauro "El Fantástico", José "Rumba" and its main sponsor "El Rancho de Miami". — Orquesta de la Eterna Juventud “Mulenze” will perform with its original singers Pedro Brull, Kenny Cruz and Rafael “Ito” Andino.

For the first time in Miami in the framework of his 40th Anniversary this Saturday, September 11, the Orquesta of Eternal Youth “Mulenze” will perform with its original singers Pedro Brull, Kenny Cruz and Rafael “Ito” Andino.

The event will take place in the “Carpa Salsera”, this concert promises to be a huge success because with more than a year and a half without live performances due to the global pandemic caused by the Coronavirus, thanks to the organizers Giovanny Lopera, Lucy Corres, Mauro “El Fantástico”, José “Rumba” and its primary sponsor “El Rancho de Miami”.

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Geovanny Leonardo Sepúlveda – “El Sonero de la Calle”

Geovanny Leonardo Sepúlveda, known as “El Sonero de la Calle”

Photo of Geovanny Leonardo Sepúlveda — Photo – Geovanny Leonardo Sepúlveda

He was born in the city of Santo Domingo, Dominican Republic. He is a singer-songwriter (he composes and sings his own songs, including the lyrics and the melody), percussionist, raised on the outskirts of the Santo Domingo neighborhoods, he developed an interest in Afro-Caribbean music. This is how he obtains a clear direction towards the creation of his own style to compose and sing this genre, which involves a series of different rhythms such as: guaracha, rumba, son montuno, bolero, mambo, son, jazz, guaracha and cha cha cha, known worldwide by its trade name “Salsa”.

He tells us that from his mother Carmen Sepúlveda and his aunt Santa Julia Sepúlveda, he inherited the passion for jazz music, bolero and son, also that his mother is an artist, but he did not get to record their music, however he went to competitions of television expressing his musical talent. Geovanny mentions that he liked music from an early age seeing this great specimen in turn, he says that his talent is born and empirical which he is seeing how it progresses in these times.

Photo by Geovanny Leonardo Sepúlveda — Geovanny Leonardo Sepúlveda in Dominican Republic

During his tour he obtained his artistic nickname “El Sonero de la Calle”, which was given to him by a great Dominican musician (bassist and arranger) named Rafael Victoria, better known as maestro Cuso Cuevas (he was a popular bassist who played with the most important popular music groups and orchestras), who was in the recording of “Batato”, mentions that he advised him the following… “that he should not change his theme of making music, that it be a different sonero, a street sonero… that he could interpret the reality of the street with his lyrics and way of singing ”

He comments that he spent a large part of his life in Caracas, Venezuela (approximately 18 years), despite having been born in the Dominican Republic, considering it his second homeland since he adores and / or loves Venezuela; During this time he met Dudamel and Orlando Latuci, his song “las carabelas” is a Venezuelan.

The teacher Ubeny Loaiza and Geovanny Leonardo Sepúlveda
– Photo

He also had the opportunity to sing with the “La Realidad” Orchestra, from there he began to give his beginnings as a singer, it all began in 2003 when Roberto Ledezma was singing a bolero and the orchestra director listened to it and without Knowing that he was a musician and I invited him to go to one of the rehearsals and when to a place called Caño Amarillo Estudio, in Caracas, Venezuela, and there I was part of the team that at that time was very necessary since they lacked a vocalist, From that moment on he appeared in the bars of Caracas, in the center of the city, he told us that it was a wonderful experience.

As time passes, his fondness for this wonderful culture born in Africa is born, brought to the Antilles and then brought to New York, USA by great masters such as Johnny Pacheco, Machito, Beny More, Santiago Cerón, José Bello, El Canario, Tito Puentes, La Typica 73, among other great musicians of this genre.

Photo of Geovanny Leonardo Sepúlveda and Andi Montañez — Geovanny Leonardo Sepúlveda and Andi Montañez – Photo

His first musical album was entitled “A las malas”, from which his first single is called “Batato” and in his musical theme “Satte de los Callejones” he indicated “El Sonero de la Calle”, the following quote … “Special dedication for all the neighborhoods of my Dominican Republic and the world. My goal is to reach the heart of the town, Geovanny L. Sepúlveda, El Sonero de la Calle.

In the current Covid-19 pandemic, many activities have been closed, especially in the musical world, but with extensive communication over the internet, many have chosen to use various platforms either to promote themselves as artists or to hold events (Facebook, Instagram, Tick Tock, Youtube, among others), and despite these complicated moments he gives us the great news that Leo Aguirre and Ubeny Loaiza are in charge of the new production of Geovanny Leonardo Sepúlveda, his new single under the musical direction of Ubeny Loaiza, owner of the La Sabrosura orchestra, giving rise to the music “Salsa Pura” which is a Rumba, which you will not stop hearing

At the end of the interview, he gives us a message for the new talents … “Study and have a lot of dedication to what you like, never stop and that the rest is in the hands of God.”

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