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NORA SUZUKI

32 Years After Her Debut In Salsa

She broke paradigms in Latin and Asian music in the late ‘80s. She founded the most famous Salsa orchestra in Japan (La Orquesta De La Luz). She paved the way for new generations of artists. She is an institution of Afro-Caribbean music in oriental culture. A leading woman, dreamer, charismatic, and enthusiastic… This is how Nora Suzuki presents her story.

This famous artist originally from Nakano-ku (Tokyo) did not always want to be a singer, at first Nora was inclined towards professional dance taking ballet classes at three years old, however, by then this young singing promise already had an unmatched vocal talent that couldn’t go unnoticed years later.

Her aptitude for the arts comes from her family because her grandfather was a master of drums and singing, her parents, although they are not professionals, continue to be excellent singers, her cousin is a music teacher, her brother is a fan of the English band, The Beatles, and finally, her son León (named so in honor of Venezuelan Salsa singer, Oscar D’ León) loves Japanese popular music right now, nevertheless, Nora hopes that one day he will succeed her as Salsero. As you can see, music runs through the veins of this successful international singer.

In the last year of Takashima High School in Tokyo (Japan) Nora’s track record of success began to be carved out. She started in an amateur rock band as the lead vocalist and developed her interest in R&B music. She sang in the ATOM band during her undergraduate career at Nihon University art of college. By then, the band had a percussionist (ex-leader of the Orquesta De La Luz) who loved Salsa and suggested to Suzuki that she study that Latin musical genre.

Nora Suzuki signing autographs — “Gracias Salseros” was released on the music market on August 20, 2019

“When I was 21, I visited New York for sightseeing and watched Oscar D’ Leon’s live at the Salsa Club. I was very impressed at that time and fell in love with Salsa. After that, a Salsa band called Orquesta del Sol was playing live in Tokyo, so I went to see that band. I was impressed that even Japanese people can play Salsa, so I decided to form La Orquesta De La Luz”. Nora explained in detail the idea that came up to create this famous Japanese Salsa Orchestra in 1984 and already graduated from university for that year.

For Suzuki, currently based in Tokyo, the last year (2020) was a year of changes: most of her concerts were postponed or canceled due to the Covid-19 pandemic, but they were still able to perform live, and after the summer, they made several performances in their home city and other adjacent regions.

In the near future, the concert tour of Nora and La Orquesta de la Luz in America and Europe is a fact, as well as the fusion of modern elements such as Reggaeton inside Salsa in their new record productions.

HER PATH THROUGH SPANISH

Nora outdoors — “I have never felt discriminated while touring Latin America. I think it’s great!” Nora

For Nora, not everything was easy when she began her career in Latin music. At first, it was difficult for her to speak Spanish due to the pronunciation of the consonants “R” and “L”. Since there isn’t distinction in the phonetics of both letters in the Japanese language, however, this successful singer never occurred to sing Salsa in another language. “I tried very hard to pronounce it right… Now I have original Salsa song with Japanese lyrics”. The artist commented.

This charismatic singer-songwriter on her path through Spanish first caught the sounds in the katakana alphabet. Then, she studied Spanish grammar in courses broadcast on television and radio.

The lyrics of her songs are composed by her using words she knows, reading dictionaries, and example sentences carefully. Once the lyrics are made, they are reviewed by one of her friends of Latin descent.

Now I can understand Spanish a lot. If you speak slowly, I can understand the rough meaning”.

NORA SUZUKI & LA ORQUESTA DE LA LUZ

This prestigious artist, who has captivated millions of people with her talent on three continents, was always persevering and disciplined. She formed La Orquesta De La Luz in the early ‘80s and later made a demo for their international performance. Three years later, with her savings, Nora toured three countries on the American continent: Panama, Puerto Rico, and New York.

Panama was the first country that set foot in search of being heard by Latinos. “I was very excited because I was able to appear on the radio and TV show, and the audience was very excited about my singing”. Nora commented.

Then she visited Puerto Rico and New York. Nora adds: “At first, I went to see Ralph Mercado, but unfortunately he didn’t listen to the demo tape. I was very depressed but didn’t want to give up, so I next met Richie Bonilla, and he was able to listen to the tape and could believe my story”.

Orquesta de la Luz in concert — “Some members understand Spanish a little, but most of them don’t speak it”. Nora Suzuki

After overcoming some obstacles, in 1989, they debuted as a world-famous Salsa band with their first concert tour in New York, thanks to the promotion of Bonilla, who currently continues to be her manager and the orchestra.

Eight years of resounding success on three continents and especially in Japan made each member of the band so popular that by 1997 it was impossible to match the schedule of each member, which caused the inevitable and regrettable breakup.

Five years later, specifically on January 16, 2002, Nora organized the World Peace Music Festival benefit concert due to the 911 incident in New York and return for the immense affection and support of Latinos in the United States. This concert was the catalyst for the reunion of La Orquesta de la Luz and by the beginning of 2021, the band has 23 countries already visited.

Recently, this famous star awarded the United Nations Peace Medal in 1993, together with the Orchestra, released the album “Gracias Salseros” in commemoration of their more than 30th anniversary. (This CD can be downloaded and listened to through the different digital platforms).

In the last 10 years, La Orquesta de la Luz has toured Japan twice and has participated in consecutive years in the Billboard Live in Tokyo and Osaka. You can also see them perform at local festivals, children’s schools, and through their official Facebook page with their live-streamed rehearsal videos that have a total of 9 000 000 views.

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Hicham Billouch and his Nour Marruecos Orchestra “Arabic music”

“Music for me is like oxygen, I cannot live without it and I will never forsake my passion “.

Hicham Billouch, Moroccan musician, seeks to explore new musical avenues and possibilities.

Billouch studied music at the Royal Conservatory in Marrakech and graduated as a pianist. He also plays the violin, the lute, the guitar and the sintir.

When he was a teenager, he started working in cabarets in Marrakech like Hotel Sahara Inn, Rotana, VIP Club and Hotel Le Semiramis in Casablanca.

In Morocco, he played along with singers like Ahmed Adawiyya from Egypt, Fares Karam from Lebanon, Mohamed Reda, Pinhas, and Badr Sultan from Morocco.

He also participated at the Mawazin Festival organized by the Government of Morocco and worked in the organization of musical events such as Green March Day.

"Music for me is like oxygen, I can't live without it and I will never give up my passion." — Hicham Billouch and his Orchestra Nour Morocco
Arabic Music

In France, he played with Maqam al Ushaq, which is a Moorish music group, at the Mediterranean Music Festival in Corsica and the International University Music Festival in Belfort Ville, France.

In Mexico he created Nour Marruecos, an Arabic music ensemble, with local musicians. Nour Marruecos has participated in international festivals such as Lerdantino (Durango), Festiva Toluca and Calimaya (Mexico State) and the Córdoba International Book Fair (Veracruz). He also played in the Lebanese Restaurant Adonis in Polanco. Mexico City.

In Mexico City, he organized a belly dance competition and also published a book with the Spanish translation of 40 Arabic songs.

Her record production includes 3 CDs: Salam, Qamar and Kalimat, with covers of Arab songs and her own compositions.

After moving to Mexico City, Maestro Hicham Billouch established the Arabic music ensemble Nour Marruecos with local musicians.

Gnawa music to be inscribed in 2019 on UNESCO's Representative List of the Intangible Heritage of Humanity — Nour Morocco Orchestra Arabic music

The Orchestra

Nour Marruecos has participated in international festivals such as Lerdantino (Durango), Festiva Toluca and Calimaya (State of Mexico), the Córdoba International Book Fair (Veracruz) and the Arab Week organized by the Centro de Investigación y Docencia Económicas of México.

The ensemble has also represented Morocco in various cultural and official events organized by the Embassy of Morocco and in private events of the Arab, Lebanese and Jewish communities.

Fusion

Gnawa music, inscribed on the UNESCO Representative List of Intangible Heritage of Humanity in 2019, is one of the most versatile, because its scales and rhythms have their roots in sub-Saharan Africa, so theyr are compatible with the pentatonic scales of blues and jazz.

That is why Hicham Billouch has merged the traditional instruments of Gnawa music such as the guembri, the outar and the qraqeb, with instruments from India such as the sitar, the tabla and with electronic music.

Arabic instruments

Arabic music has a long history of interaction with many musical styles in the world. Arabs people translated and evolved Greek texts and mastered musical theories.

In the pre-Islamic period, Arabic music consisted of singing poetry. As for the musical instruments, they were used in a manner that may accompany and savour the meaning of poetry.

Arabic instruments can be classified into three main types: string instruments, wind instruments and percussion instruments.

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Tribute to Adalberto Santiago for his musical career

Well-deserved tribute

After many years of musical career, singer and co-founder of FANIA, Adalberto Santiago has been honored with an official recognition given by Mayor of Ciales, Puerto Rico, something which was revealed on social media and various means of communication that followed the big news. Such recognition was manifested with the renaming of the Municipal Theater, which is going to be called as the artist in his honor.

This event was made known thanks to his great friend and director of the Abran Paso orchestra, Luisito Figueroa, who was in charge of carrying out all the necessary steps for Santiago to receive this great tribute. By 2019, Figueroa was working on the recognition through a group of visits he carried out to the Municipal Legislature, an entity in which he would submit the formal request that would finally be applied this year. After a comprehensive analysis of the evidence provided by the artist, this request was unanimously approved in recognition of the working years and the intense artistic life of Santiago. The glorification of Ciales around the world had its effect.

This event will take place in the theater which will bear the name of the artist in June, the month in which the festivities of Ciales will take place and people will be able to enjoy such an amazing event.

Adalberto Santiago and his tribute for his musical career — Adalberto Santiago will be honored for his musical career

Who is Adalberto Santiago?

In case you do not know who he is or the reason for so much admiration and tributes, he is a successful Puerto Rican singer whose trajectory speaks for itself. Alberto Santiago Berrios was born on April 23, 1937 in Ciales, a place we have already mentioned as the main stage of the recognition the artist will receive.

One of the biggest attractions of the interpreter is his prodigious lyric voice, which classifies him as one of the greatest names in Afro-Caribbean music and similar rhythms, even being compared to stars such as Benny Moré, Miguelito Cuní, and so many others that have left the Latin rhythms in a high position in the world. Among the many achievements of his extensive musical career, we cannot fail to mention his involvement with the world-renowned Cuban group La Sonora Matancera, with whom he recorded the album entitled De Nuevo, which was recorded in Mexico.

It should be noted that Santiago has written a great variety of songs for many albums where he has played a leading role, both as a soloist or a conductor. Likewise, he has written songs for many other artists, who have put their trust in the talent of the singer as a composer.

The interpreter has experimented with a wide range of musical genres that have allowed him to become known in much of the world, such as pachanga, Guaracha, cumbia, Bolero, Merengue, and so on. This versatility with regard to musical rhythms and vocal technique has allowed him to gain a respectable space in the industry and in the hearts of his large and loyal fan base. Even today, he is still considered one of the greatest exponents of Latin music and its derivatives.

By: Johnny Cruz correspondent of International Salsa Magazine in New York City, New York

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The legend of Gon Bops began in 1954 in California, USA.

It remains one of the oldest and most respected Latin instrument makers in the world.

The legend of Gon Bops began in 1954 in California when Mexican-American Mariano Bobadilla (born in Guadalajara), who would become one of the most respected conga makers in the percussion industry, began designing and building conga and bongo drums.

Bobadilla, a band instrument repairman and professional trumpet player, launched Gon Bops in his father’s old wooden garage in a downtown Los Angeles neighborhood.

He chose the name Gon Bops because “Gon” was one of the colloquial expressions of the time, like “everything goes, man,” and “Bops” because his friends nicknamed him Bob, which sounded like “Bop” in the Latin dialect.

Although Bobadilla’s drums remained true to the classic Cuban form, he was a true innovator in the development of drum hardware. He designed the first teardrop-shaped crown with rounded rims, developed to protect the hands of the musicians, a concept that is now universally accepted.

It remains one of the oldest and most respected Latin instrument makers in the world. — The legend of Gon Bops began in 1954 in California, USA.

He also gave birth to the first tunable hardware for congas and bongos in the United States. After seeing how Cuban congueros heated the drums in their kitchens before performing, Bobadilla decided there had to be a simpler and more reliable method for tuning these instruments.

Other innovations of the young company included taroles (wooden timbales), the first pre-assembled replacement heads for congas, chromatic tuned cowbells, and numerous stands, adapters and other accessories.

Gon Bops was very successful in its early days. The instruments were in great demand by the top musicians of the time – giants such as Alex Acuña, Mongo Santamaría, Francisco Aguabella, Armando Peraza, Poncho Sánchez, José Hernández and Rich Barrientos, all of whom contributed invaluable R&D input. Gon Bops quickly became the undisputed leader in Latin percussion instruments and remained so throughout the 50s, 60s and 70s.

Mariano remained deeply committed to a hands-on role in production and retained complete control of the design and manufacture of all his products. As a result, Gon Bops instruments were mainstays on the world’s biggest stages, including the massive Woodstock festival in 1969.

However, the winds of change swept through the American percussion industry. By the time the 1980s arrived, all the major U.S. percussion manufacturers had moved overseas to manufacture their instruments. Cheap Asian labor costs meant higher profits.

But as manufacturing costs declined, so did quality, and for that reason Bobadilla refused to move its production out of the United States. As a result, Gon Bops began to struggle financially. Unable to compete with its larger competitors, Bobadilla had no choice but to close the doors of his beloved company.

Fortunately, that was not to be the end of the Gon Bops brand. In 2001, Don Lombardi of U.S. drum manufacturer DW bought the company along with all its patents and trademarks.

Lombardi had met Bobadilla in 1978, when he used Gon Bops’ Timbale shells to build DW’s brass snares, and had subsequently continued to seek Bobadilla’s R&D advice. It was a great fit, and it was no coincidence that the quality of DW’s drums and hardware continued to grow after the Gon Bops acquisition.

To manage his newly acquired Gon Bops brand, Lombardi hired the best drum craftsmen in the United States. He even purchased San Francisco-based Sol Percussion to recruit its founder, drum builder Akbar Moghaddam, to the Gon Bops cause.

Moghaddam brought with him fellow drummer Octavio Ruiz, and Lombardi teamed them up with Alejandro Perez, a drum builder who had worked with Mariano Bobadilla at the original Gon Bops factory.

In 2010, cymbal manufacturer SABIAN Inc. announced that it had purchased the inventory, intellectual property, patents and manufacturing equipment of Gon Bops from DW.

The deep commitment to innovation that SABIAN applied to its own instruments had inspired founder Robert Zildjian and his son, SABIAN president Andy Zildjian, to seek out like-minded instrument companies available for acquisition. And it just so happened that Lombardi had begun looking for a buyer for Gon Bops.

“We are excited to begin this new chapter in the history of SABIAN and Gon Bops,” Andy Zildjian notes. “Gon Bops instruments are a perfect blend of vintage craftsmanship and innovative thinking. Since its founding in 1954, the company has pioneered several features and enhancements that have forever changed Latin instruments.

We are excited to not only expand distribution, but also to continue to focus on innovative designs that represent clear improvements to meet the needs of musicians.

The pursuit of the best sound is what our craftsmen work for every day. We know that the fit is perfect, above all, because sound matters.”

Today, Gon Bops remains one of the oldest and most respected Latin instrument makers in the world.

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Anacaona Areito de Anacaona ‘Golden Flower’

Anacaona was the last princess of the Caribbean and protector of the Taino people.

“Anacaona, areito de Anacaona”, sang Cheo Feliciano before a heated crowd at the Cheetah club in New York late on 26 August 26, 1971.

It has been more than 50 years have passed and the chorus from the pen of Tite Curet Alonso resounds as if it were yesterday. But who was Anacaona?

Anacaona or Anakaona. (1474-1503)1 was an aboriginal Taino chieftain of Bohío Island. She governed the Cacicazgo of Jaragua after the death of her brother Bohechío. She was condemned to be hanged by Governor Nicolás de Ovando.

Anacaona means ‘Golden Flower’ in the Taino language. She was a Haitian princess of Taino origin who was born in the year 1474 at Bohío, as it was dubbed by its inhabitants and then divided into two Caribbean countries: the Dominican Republic and Haiti.

Anacaona was the last princess of the Caribbean and protector of the Taino people. — Anacaona Areito de Anacaona

After the death of her brother Bohechío, Anacaona would take over as cacique to rule the Chiefdom of Jaragua. She had a natural talent for poems, which she sang in the areitos, dances, and songs with which the Taino Indians celebrated their festivities and religious rites.

Anacaona received Christopher Columbus on his first voyage at Christmas 1492. She felt admiration for the new knowledge and skills of these people to solve day-to-day challenges.

Those led by Columbus established a settlement in the new territory, which they called Christmas Town. It is said that this was the first building of the Spaniards in America.

But harmony would not last for long. The abuse on the natives began, especially women who were mistreated and raped without hesitation.

Anacaona would not accept the oppressive tyranny and persuaded Caonabo, her husband, to destroy the settlement where the invaders were based.

Anacaona in the Taino language means 'Golden Flower'. She was a Haitian princess of Taino race who was born in the year 1474 on Bohío Island, as its first inhabitants baptized it and which would later be divided into two Caribbean countries: the Dominican Republic and Haiti. — Anacaona was the last princess of the Caribbean and protector of the Taino people.

Christopher Columbus left the territory and, upon return in November 1493, he found Christmas Town destroyed and its more than 43 men killed. It was an affront. Anacaona escaped and became an Indian of a captive race, as the song goes. But her freedom would not last long. After an intense search, she was captured and bound to hang in 1504.

The Tite Curet Alonso’s ‘Anacaona’

Tite Curet Alonso composed ‘Anacaona’ without knowing who she was. The song written from one day to the next would be included in the album “Cheo” (1971) of Vaya Records. The label sought to re-launch Feliciano’s musical career, who had stayed away from the stage as a result of the rehabilitation for his drug addiction.

In an interview posted on Youtube, Tite says that he was inspired by a Lecuona Cuban Boys orchestra’s song (recorded in the 1930s) and baptized it with that name in honor of the Cuban girl group Anacaona.

After the death of her brother Bohechío, Anacaona took over as caciqueca, governing the Cacicazgo de Jaragua. She had a natural talent for poetry, which she sang in the areitos, dances and songs with which the Taino Indians celebrated their festivities and religious rites. — Anacaona or Anakaona. (1474-1503) was an aboriginal Taino chieftain of Bohío Island.

He says he tried to “make up a mystical story” about Spanish and Indian slaves. When composing, Curet did not know he was telling the true story of the Haitian princess who fought against the Spaniards in the early years of the discovery of America.

After the release of the album was released, which was well received by the public, Curet visited a priestess who knew the life of Anacaona and had heard the song in the voice of Cheo Feliciano. After knowing the story, Tite was greatly impressed.

The woman informed the composer that it was the Taíno ancestors who inspired his pen in each verse.

“But how is it possible that you wrote that song? Now you have to make a song for Caonabo and I will tell you why: because from a certain generation upwards, you are a descendant of Caonabo and Anacaona”, said the priestess.

It did not take long for Tire Curet to publish his tribute to ‘Caonabo’, the Indian fighter who, like his wife Anacaona, fought against Spanish oppression. The song was included in his production as a singer-songwriter entitled “Aquí estoy con un poco de algo” (1975).

The Cheetah concert on August 26, 1971, gave rise to the salsa boom and allowed several young talents to make history. Moreover, it opened the way for composers like Tire Curet Alonso, who with songs like ‘Anacaona’, created the soundtrack of Latin American soul.

Images courtesy of Museo Taino Anacaona

https://www.museoanacaona.com/

Dominican Republic