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From Peru and based in France we have Wálter Antonio Rebatta Hinostroza is a brand new and spectacular percussionist.

We are honored to present in this new release, one of the most outstanding figures of Latin music, representing the brother country of Peru, who has put the name of the musicians born in Inca lands very high in the world.

With you, directly from France, we have as a special guest Wálter Antonio Rebatta Hinostroza, a brand new and spectacular percussionist, who was born on September 14, 1973, in Bella Vista, Callao, Peru, being artistically known as “El Chato”.

Welcome Wálter to Salsa Escrita “La Columna Salsera de Barquisimeto, Venezuela”. It is a great pleasure to have you as a special guest in International Salsa Magazine, www.SalsaGoogle.com.

Thank you very much to you, my friend, Professor Carlos, for the invitation to your well read and recognized column and I take this opportunity to give a sincere greeting to all Venezuelans who are like my brothers.

How did you start in music? Well, teacher in my neighborhood called Ventanilla, in Peru, I grew up and since I was a child I breathed musical air, where at the age of 6 years old I was already playing “El Cajon”, traditional Peruvian Creole instrument, under the tutelage of my older brother Kike Rebatta, who took me later to learn other percussion instruments and prepare me with music theory, and then enter the music school of the renowned teacher Edelmi Chavez, and thus join the ranks of the most renowned orchestras in my country, such as: La Iniciativa, Orquesta la Grande, Banana Latin Jazz, among others.

Wálter, which international orchestras and artists have you accompanied? I have accompanied and worked with “Los Hermanos Colón” from Puerto Rico and among many groups, I have had the honor of being on stage with my Venezuelan brothers, Hildemaro “El Sonero del Amor”, with whom I have a great friendship, as well as with the master timbalero Alfredo Villamizar, from whom I have learned a lot and from whom I must thank through his column Salsa Escrita. “Chato”, you are currently based in the French city of Grenoble and we would like to know how is the salsa movement, especially in Europe. In fact, professor, in 1995, I came to Europe with the “Orquesta Salsa Perú” and I met Mr. Rodolfo Guerra, with whom a great friendship was born and I became part of the “Orquesta Sincopa Latina”, directed by him, being present in his productions: Salsa que te pasa, Demasiado corazón, Mi bachata, Puerto Rico, Todo, Escándalo, Mi silencio, Mi toque, Habla conmigo and Azafata. Wálter, I have heard that you have accompanied great salsa artists in their presentations, tell me who? I have had the honor of accompanying the late Tito Gómez, Willie González, Luisito Carrión and the great Venezuelan sonero Orlando José Castillo “Watussi”.

Also, let me tell you professor, that I have worked in the Italian television Media Set, in the very popular program “Notte Vola”, also in 2002, I participated in the Tour of the Queen of Salsa, Celia Cruz, along with the orchestra of the prestigious world famous violinist Alfredo de La Fe.

Likewise, my friend Carlos, in 2004, I performed in numerous events with Latin jazz groups, among them “El Royal Cuba”, of the Cuban musician and singer Eduardo Céspedes.

In 2007, I participated in the prestigious and famous festival of San Remo with the singer Daniele Silvestri, with whom I have recorded in his productions. In 2009, I participated in the Italian tour “Terromotati Dil Abruzzo”, conducted by the famous singer Laura Pausini and later that same year I participated again in a tour in the United States for charity with Pausini again.

Excellent Wálter, and what can you tell us about the orchestra you are currently working with and what are your future projects? Professor Carlos, at present I am an official musician of the renowned orchestra “Mercadonegro” and in relation to my projects, is to form my own group and perhaps dabble in bachata, but without leaving aside the salsa, since living in Europe I have met many bachateros. And something very important, my friend Colmenárez, I am also working on the project of my Venezuelan compadre, the musician Edwin Sanz, whom I would like you to interview at some point.

Very good Wálter, congratulations for your career, what are your contacts on digital platforms? My Facebook is: Wálter Antonio Rebatta Hinostroza and my whatsapp: +41 77 5122633.

We want to wish you the best on behalf of Salsa Escrita “La Columna Salsera de Barquisimeto” and that you continue to put the name of Peru on high in all the stages of the world.

Thank you a thousand times, Professor Carlos Colmenárez, for taking me into account and thus make my career known and offer my greetings, thanks and respect to all the salseros of the world through International Salsa Magazine, www.SalsaGoogle.com and long live salsa, Peru and Venezuela, united forever…!

Chucho Valdes and Paquito D’ Rivera Will Tour for Europe

Jazz virtuous will offer a series of concerts from June to November

Paquito D’ Rivera and Chucho Valdés

The pianist, composer, and conductor Jesús “Chucho” Valdes and the saxophonist, clarinetist, and composer Paquito D’ Rivera come together again to offer a tour called Reunión Sextet.

This tour of 2022 begins at the Mastercard Jazz Festival (Puerto Rico) and will pass through Poland (Bielsko-Biala), Spain (Pamplona, Marbella, Madrid, and Girona), and Germany (Essen) in June and July, and will end on November 30th in Zurich, Switzerland. Tickets range from €25 – €65 and you can get them in advance on Chucho Valdés’s website. www.chucho-valdes.com

The history of this long friendship dates back to the 1960s when they began their musical partnership as partners in the Havana Musical Theater Orchestra and the Cuban Modern Music Orchestra. With the founding of the Irakere orchestra by Maestro Valdés in 1973, Chucho and Paquito worked together again promoting the fusion of elements of Jazz, Classical music, Rock, and Afro-Cuban music that meant a transcendental development in Latin Jazz, and where Paquito and Chucho were the key figures. “Paquito was the heart of Irakere,” Chucho said.

Eight years later, Paquito went into exile in Madrid and later moved to New York. He developed a successful career as a leader & composer and won recognition as a Jazz Master from the National Endowment for the Arts of the United States in 2005. At the same time, Paquito also maintained his passion for classical music, receiving a Guggenheim Scholarship and commissions for quartets of strings, chamber groups, and symphony orchestras.

Meanwhile, Chuco remained in Irakere until 2005. He led trios and quartets, and established himself as a solo pianist. He produced his most recent production La Creación, a three-movement suite for small ensemble, voices, and Big Band. The masterpiece had its world premiere on November 5th, 2021, at the Adrienne Arsht Center for the Performing Arts in Miami and after was presented in Lyon, Paris, and Barcelona.

Now, after four decades, they come together to present Reunión Sextet accompanied by an extraordinary ensemble that includes Diego Urcola (Trumpet), Dafnis Prieto (Drums), Armando Gola (Bass), and Roberto Vizcaino Jr. (Conga). The repertoire will include old Latin Jazz hits, Latin American classics, and new compositions from the I Missed You Too album.

The two Cuban virtuosos have accumulated more than 25 Grammys and Latin Grammys. “I’ve always had the hope of being close to Paquito again and playing with him again,” he said. “I’ve always had that hope. Well, this is our moment.” The Maestro Chucho expressed.

His first tour in Spain was in 1981

Chucho Valdés, an icon of modern Afro-Cuban Jazz, told for a digital medium that practices the piano from six to eight hours a day. During the confinement, he was in Florida and composed La Creación (a tribute to Olodumare, the god of the Yoruba religion). This instrumental musical gem is sung, composed, directed, and performed by Valdés, and tells the story of the meeting of Afro-Cuban music in the Caribbean and the United States and how this has influenced globally. He also composed minor works and dedicated part of his time to teaching and virtual concerts.

Likewise, he added that the country that he would contemplate for a possible retirement would be Malaga (Spain) because his great pleasures come together: the Mediterranean, the diet, and many friends in the city.

Tromboranga Will Visit America And Europe With Their World Tour 2022

France, Norway, the Netherlands, and the United States will be some countries that will dance to the rhythm of Salsa Dura

Músicos: Joaquín Arteaga, Diego Coppinger, Freddy Ramos, Rafael “Madagascar” Arciniegas, Lorenzo “El diablo” Barriendos, Vladimir Peña, Albert Costa, Miguel Moises, Oriol Martínez, Climent Campa.

With the solid and unmistakable sound of the trombone & percussion sections and the strong influence on Salsa from the 60s and 70s, Tromboranga with their Hot Salsa will visit France (Festival Corazón Latino 2022 – Bordeaux), Norway (featuring the trombonist, Jimmy Bosch at Kafe Sync – Oslo), the Netherlands (Summer Breeze Latin Night 2022 – Amsterdam), Spain (Pamplona and Barcelona), the United States (The Great Colombian Festival Miramar – Florida), and Ecuador (Guayaquil ) with its World Tour 2022 from May to September.

The friendly musicians residing in Barcelona (Spain) will offer a series of performances to captivate Latin audiences in Europe and America to celebrate their tenth anniversary on the music scene.

The orchestra will play all their hits including Agua que va caer, Alabanciosa, Humildad, Mi china Colombiana, Ah Caraj, Palo pa’ la campana, Charrupi, Como la marea, Sangre sudor y Salsa, Esclavo de tu apariencia, Que linda que estás, likewise the nine unreleased songs from their album Te voy a contar, released to the Salsa scene in 2019.

Te voy a contar has the participation of the Jazz and Salsa master, the trombonist Jimmy Bosch in the song Te perdono. Oscar Hernández (the Spanish Harlem Orchestra leader and winner of several Grammy awards) arranged the Latin Jazz theme, Sal de la Cueva. In addition to this, Huracán no me tumbas (dedicated to the Island) was recorded in Puerto Rico, and they shared voices with one of their idols from the Fania All-Stars, Ismael Miranda.

The followers of Tromboranga call themselves “Salseros Tromborangueros”.

During the pandemic in 2020, Tromboranga http://www.tromboranga.com/en continued with their new record production Salsa Terapia. Melodies such as El cuero del tambor, Devuélveme mis discos, Pachanguera y El mundo al revés are part of this album that has gone viral in choreographies on social networks in addition to being reproduced as multimedia content by Latin radio stations around the world.

“Our success is the dedication and love in selecting the songs, most of them are my authorship, I carry out the general production and the concept of each album”, said the Venezuelan musician Joaquín Arteaga (Director of the orchestra and known for his extensive career as a percussionist and Timbales expert).

In 2021, this Salsa Dura orchestra released the single “Baila Africa” sharing with African artists such as Msaki (voice of the promotional theme) while they toured South Africa (2020). The authorship of this salsa melody was in charge of the leader of Tromboranga, Joaquín Arteaga.

Telling a little about their history, the orchestra made up of ten Latin and European musicians released their first studio album in April 2012 titled Salsa Dura, rated among the top ten of that year by DJs, dancers, and specialized bloggers of the genre.

The stellar and Sabrosa Salsa reunion will be from May to September.

In 2013, Tromboranga recorded Al Mal Tiempo Buena Salsa, rewarding them with their first international tour in Europe and Latin America. During that same year (November 2013), they released the Special Edition Vinyl “Solo para Coleccionistas Vol. 1” exclusive for 300 people.

The sum of the rest of their recordings reaches a total of five albums published in successive years: Como La Marea (2014), Sangre, Sudor Y Salsa (2015), Golpe Con Melodía (2015), Tumbando Fronteras (2017), Una Noche En Bangkok (2018).

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.