Search Results for: Salsa Music

Brisa Tropical con Taino

North America / USA / Oklahoma

Brisa Tropical con Taino. The Oklahoma´s Salsero program in Spanish

For almost 30 years, the state of Oklahoma has among its ranks of entertainment, “Brisa Tropical con Taino”, the first spanish radio show with Salsero sound, made especially for the Latin community in the country.

Its creator, founder, host and producer is the Puerto Rican Lino “Taino” Roldán Torres, a Disabled Vietnam and Persian Gulf wars Veteran, salsa lover, who together with his wife Carmen decided to undertake this project for the Latin market unattended for so many years.

Brisa Tropical with Taino

This pioneering program began its transmission for the first time in 1992, through the Amplitude Modulation (AM) dial. At first, this format had three hours of broadcast of only Tropical Music in its programming, novelty that made him a creditor of a preferential site in Frequency Modulation (FM) in 1995, with a duration of one hour in addition to the one established at the beginning in the AM circuit.

This way, Brisa Tropical con Taino had a total of four hours of continuous Latin music with advertising spaces, musical information and artists´ biographies, these transmissions lasted 18 uninterrupted years in that radio space.

Nam - Brisa Tropical con Taino — Nam – Brisa Tropical con Taino

“AN ANNOUNCER SHOULD FOCUS ON THE MUSIC AND LEAVE ASIDE ANY OTHER SUBJECTS THAT ARE NOT APPROPRIATE.”

Lino started with the idea of a Latin program for Latinos at a Local Radio Station when he arrived in Oklahoma after his work in the military in the early 90’s, at the same time, this retired military man with 23 years of service also worked as a DJ in two European countries: Italy and Germany. “… When I arrived to Oklahoma, I noticed the absence of a radio station in Spanish of tropical rhythms, such as Salsa, Merengue, Etc.

I went to several radio stations, but they were not interested in having a program in Spanish. I went to the commercial establishments of the city and told them about my idea that would bring them a market that was unexplored (the Hispanic market). The merchants and other commercial institutions immediately told me that they would give me their support. I presented the idea to an AM station, and they accepted it. (My goal was FM, but this opened the doors)”, Taino told us.

Currently, Brisa Tropical con Taino is developed only by network 2.0 since 2015, going from a Radio Program to a Digital Salsera Station with 24 hours programming each day with live interruptions between 10AM and 3PM, using that is commonly known as “Voice Track” for the rest of the time.

With this change, this interactive Web Station based in the city of Jenks, south of Tulsa in Oklahoma, has managed to obtain a loyal and numerous audience in Europe, the Caribbean, all of Latin America, the United States, and especially in remote areas such as: Iraq and Afghanistan, where the station fulfills a gratifying mission, as they carry greetings from the hundreds of soldiers deployed in those war zones to their relatives in the U.S. and Puerto Rico.

The also sociologist, Lino Roldan, along with his wife and great collaborating friends, are responsible for producing the varied programming for all Salseras generations all week, as well as to bring information capsules about Health, Consumer, Home Security, Maintenance of automobiles, etc., always with the firm purpose of bringing entertainment and, at the same time, education for the listening public.

“… LA SALSA LLEGÓ PARA QUEDARSE Y ES MUNDIAL”

This non-profit digital broadcaster is committed to the community, sponsoring Salsa events (without cost) such as: cruises and artist presentations, as well as helping to promote several activities of various organizations. In the same way, they are always present and united with the community in cases of emergencies such as natural disasters caused by the past hurricanes Mitch (1998) and María (2017), collaborating with the collection of food for the victims.

Lino “Taino” Roldán, as a good Salsa lover, hopes to continue praising this tropical music for many years, transmitting through his digital station different interpreters’ songs from all over the world, and to continue with this important work and pasion, Lino and Carmen need to raise $1000 in the account opened in “Go Fund Me” for maintenance expenses and music royalties that they promote. Would you like to help them?

Carmen and Lino Roldán - Brisa Tropical with Taino — Carmen and Lino Roldán – Brisa Tropical with Taino

“… AT MY AGE, PROJECTS AND GOALS ARE DONE EVERY DAY. I FEEL HAPPY WITH WHAT I DO”. Lino Roldán

For more information, please visit www.brisatropical.com or download the app for Smartphone Radio La Brisa Tropical.

The great ‘Soneros Summit’ in Barranquijazz – Courtesy of Radio Nacional de Colombia

Latin America / Colombia / Barranquilla

Courtesy of Radio Nacional de Colombia of the Barranquijazz 2018 for International Salsa Magazine.

This is how the great ‘Cumbre de Soneros’ was lived in Barranquijazz this 15th of Sep-2018.

In a special gala that included the participation for the first time of the Antonio Arnedo Quintet, a determining musician in the languages of Colombian jazz, in which he magnificently managed to introduce the public on a journey through the traditional sounds of the different regions of Colombia under that concept that has come to be known as World Jazz, the atmosphere was warming up for the enjoyment of one of the most vibrant nights of Barranquijazz 2018.

Photo of The great Soneros Summit in Barranquijazz

The first of the protagonists of the summit to go on stage was Hermán Olivera, the so-called ‘Sonero of the 21st century’, who demonstrated that he is indeed “the bridge between yesterday and today”, as he says in one of his proclamations in ‘ The heir to flavor’, a piece included on his solo album ‘La voz del Caribe’, a nickname given to him some time ago by Eddie Palmieri, the leader of the orchestra in which Herman has been a member for more than 20 years.

Then it was Ray de la Paz’s turn, who raised the level of the public’s enthusiasm after performing the greatest hits of his career, achieved together with the late arranger and conductor Louie Ramírez. The New Yorker exhibited his powerful voice with the pieces: ‘Everything collapsed’, ‘Only you and I’, ‘Liar’, ‘Let’s go from here’ and ‘Being in love’.

Later, the ‘Pretty Boy’ Ismael Miranda was present. In his greeting to the public he mentioned: “We saw that they did some brutal Olympics and the world found out”, referring to the Central American and Caribbean Games recently held in the arena.

Photo of the artists at the great Soneros Summit in Barranquijazz

Miranda performed ‘Caretas’, ‘The corners are’ and ‘Don’t tell me it’s too late’. For the closing, Ismael Miranda called Ray de la Paz and Hermán Olivera to the stage, and together they inspired their best soneos, wasting their talent on the song ‘Abran Paso’.

With this show of the highest level, Barranquijazz closed its cycle of galas.

By: Robert Tellez.

More information:

https://www.radionacional.co/noticia/musica/asi-se-vivio-la-gran-cumbre-de-soneros-barranquijazz

Papo Lucca. The Giant of the South

Latin America / Puerto Rico

Papo Lucca born in Ponce, Puerto Rico on April 2, 1946, Enrique ‘Papo’ Lucca began playing the piano at age 11 with his father’s orchestra. Initially, La Ponceña played versions of tropical hits of the moment by bands like Cortijo y su Combo and La Sonora Matancera.

In the late 1960s, Papo became the orchestra’s musical director, beginning a profound transformation that would eventually establish la Ponceña as one of the most progressive groups in the history of Afro-Caribbean music. Papo’s orchestrations were bold, experimenting with elements of jazz, rock, and Brazilian music. Representing the authentic spirit of Puerto Rican salsa, his piano solos were velvety, displaying elegance, restraint, and infinite swing.

During the mid-’70s, La Ponceña began to enjoy unprecedented success with critics and the public. The band recorded for the Inca label, which eventually became part of the Fania empire. Papo was invited to arrange and play on sessions for the company’s biggest artists, including Johnny Pacheco, Celia Cruz and Cheo Feliciano. He also recorded and toured with the Fania All Stars.

This compilation pays tribute to the art of Papo Lucca through 14 classic songs recorded between 1967 and 1981. Although Lucca has recorded as a solo artist and also collaborated with a multitude of salsa stars, it is his work with La Ponceña that best expresses the clarity of his vision.

The music we make has to make people happy, as well as make them dance. That’s what it’s all about, says Lucca from her home in Puerto Rico. When the public can dance, no matter how complicated the music is. The first theme that this genre had was to divulge the things that happened in the different communities, as if it were a newspaper.

Our journey begins with two fiery songs from the beginnings of La Ponceña: “Hachero Pa’Un Palo” and “Fuego En El 23” are versions of songs by Cuban Arsenio Rodríguez. La Ponceña always had a soft spot for Puerto Rican folklore, but she also found inspiration in the golden age of Cuban music.

The precise moment in which La Ponceña becomes a mature orchestra in total control of its aesthetics can be found in the six songs from the Musical Conquest/Conquista Musical and El Gigante Del Sur albums. Launched on the market in 1976 and 1977 respectively, they represent the pinnacle of the salsa movement.

These songs combine a musical skill that approaches virtuosity with deep lyrics and a generous sense of humor. “Ñáñara Caí” is a hilarious narrative of pure magical realism, describing a world where everything is turned upside down (my favorite phrase: I saw a cow/Hit with Pacheco). Also included in Musical Conquest, “El Pío Pío” achieves the perfect cross between Afro-Cuban rhythm and contagious pop. This hit is a mandatory part of all La Ponceña concerts.

The opening theme of the El Gigante Del Sur album, “Boranda” seems to offer a salsa version of progressive rock. Its lyrics contain an important sociopolitical message, and the sophistication of its arrangement is a slap in the face for all those who believe that this music is only for dancing. “Soy Tan Feliz” combines bolero climates with an electric piano solo that recalls the psychedelic sound of jazz-rock from the ’70s. “Noche Como Boca ‘E Lobo” creates a tasty collision between salsa fever and Brazilian rhythms.

Lucca was not alone in his mission to reinvent the rules of Puerto Rican dance music. It was also benefited by the prowess of some of the best instrumentalists on the island. Furthermore, his instinct for choosing singers was always irreproachable.

Some of the vocalists of la Ponceña that appear here are Tito Gómez, who would later find fame with the Grupo Niche de Colombia; the inimitable Luigi Texidor, who gave a sense of placidity to all the songs he performed; and Yolanda Rivera, who added variety to the band’s sound with her unique timbre.

One of Rivera’s happiest moments is included here: Coming from 1980’s Unchained Force, Johnny Ortiz’s “Borinquen” is a soulful anthem to Puerto Rico, blessed with a sinuous melody and subtle instrumental arrangement–one of Rivera’s happiest moments. transcendental within the Ponceña canon.

The golden days of salsa are a distant memory in the new millennium, but Papo Lucca hasn’t stopped shining. Perhaps precisely because he continues to record new music, he refuses to idealize the past when I ask him what his favorite album with “La Ponceña.”

The last one, the most recent, he explained in his characteristically introverted tone. All the albums are very important in the career of the orchestra. They all fulfilled their mission at the time, which was to reaffirm the previous one. That’s the way to maintain a pool after 50 years.

The teacher was a little more direct when I asked him about his favorite concert of all time.

It was my first concert with the Fania All Stars at Madison Square Garden, back in 1974, he said. All the stars of the Fania were still alive. A few years later we played in front of 47,000 people in Cali. My knees always shake before I go on stage, but this time they shook a little more.

Anacaona Orchestra

Latin America / Cuba / Havana

Anacaona Orchestra. Women of Cuba Since 1932

Genesis Founded in 1932

Anacaona Orchestra founded on February 19, 1932 by Concepción Castro Zaldarriaga and her sisters, being then the first female sextet of Son Cubano and in 1934 expanded to the Jazz Band and Charanga Típica format, projecting itself to the world from the famous ¨Aires Libres of the Saratoga Hotel. ¨ in the Havana Prado.

Between the 1940s and 1960s, these talented women toured throughout North to South America, the Caribbean and France.

In Mexico, one of the countries most visited by the orchestra at this stage, its images and sounds were recorded in some film of Mexican Cinema, such as: ¨the night is ours¨, ¨I do not deny my past¨ and ¨Women of theater¨ in which they alternated with film and music artists from that country. Also at that same time they recorded with the RCA Víctor label.

The Aguirres

The sisters Giorgia and Dora Aguirre, with a solid musical background, specializing in Double Bass and Saxophone, recently graduated from the ¨Amadeo Roldan¨ Music Conservatory, joined the Anacaona Orchestra with its original founders in 1983, under the direction Alicia Castro, with whom they learned the most genuine genres of Cuban popular music, the rigor and discipline in this profession.

3rd Generation

After the retirement of the Castro sisters in December 1987, she assumed the direction of the Georgia Aguirre Orchestra, who, together with her sister and other young women who had also graduated from music schools, continued the work begun by the founders, consolidating a style that combines tradition with modernity, to preserve and enhance the history of Anacaona.

Tours

Internationally, they have traveled to more than 30 countries in Europe, Asia, Africa, America and the Caribbean, performing at important festivals and multiple stages, among which the most outstanding are:

The tour of 34 countries in the People’s Republic of China; his participation in the play ¨El Burgués Tropical¨ under the direction of Gerome Sabarì, inspired by Moliere’s classic, El Bourgeois Gentleman”; the tour made through some cities in the United States in which they also had a very emotional meeting with Graciela Pérez, singer and founder of Anacaona and the show “Sabor de la Habana” that opened the season of Cuban shows at the Cabaret Del Gran Casino Monte Carlo of the Principality of Monaco,

In addition to other important jazz and summer festivals in Spain, Germany, Belgium, Sweden, Holland, Canada, Jamaica, Aruba, Curacao, French Guiana, Guadeloupe, Martinique, Saint Lucia, Peru, Honduras, Venezuela and Mexico, among others.