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Search Results for: Salsa Music

Mozart & Mambo

The Instrumental Music Album With The Major Projection Of 2021

Sarah Willis playing the French Horn with Yuniet Lombida playing the saxophone
Mozart & Mambo was recorded in Havana (Cuba) in January 2020

After six years of Horn Discovery, Sarah Willis brings us in her third album the discovery of two worlds through a completely harmonic and natural fusion. Her album Mozart & Mambo combines solo pieces for Horn of classical music originating in Western Europe with the traditional rhythms of Cuba Island.

Sarah had this magnificent and unusual idea due to her multiple trips to Havana city to teach how to play this brass instrument.

“As a Horn player, I always wanted to record Mozart’s horn concerts … And when I met the Havana Lyceum Orchestra and its conductor José Antonio Méndez Padrón I had the idea of ​​recording with them. I love the way they play Mozart. I love the way Pepe works with them… So, what better way than to mix some pieces of Mozart and Mambo? Then, we have pure Mozart. We also have some purely Cuban songs, but we also have a wonderful fusion of Mozart and Mambo. And, It is the title.

… The main concert on the album is the third concert for Mozart Horn, which is one of my favorites… It’s a catchy tune… I have an arranger in Australia called Joshua Davis, and I said, listen! I have this crazy idea.

– I want to turn this piece into a Mambo.                                                                         

– He said, sure, no problem.

But he didn’t know much about Cuban percussion. So, I said:

– I have the ideal person to help us.

And I turned to a wonderful musician from Cuba, Yuniet Lombida, who plays the saxophone on the album and is one of the best saxophonists in Cuba”. Willis commented on a digital medium.

The splendid trio between the first woman in the brass section of the Berliner Philharmoniker, the Havana Lyceum Orchestra under the baton of José Antonio Méndez Padrón (Pepe), and the consecrated saxophonist from Havana, Yuniet Lombida managed to create an exceptional experience among the Concerts for Mozart Horn and Caribbean intercalated rhythms: Mambo, Son, Salsa, and Bolero.

Harold Madrigal, Yuniet Lombida, Sarah Willis, Pepe Méndez, and Jorge Aragón
Harold Madrigal, Yuniet Lombida, Sarah Willis, Pepe Méndez, and Jorge Aragón

The album consists of 10 Tracks, which stand out: Rondo Alla Mambo and the two great Cuban classics Dos Gardenias and El Manisero with arrangements by Joshua Davis and Yuniet Lombida. Likewise, Rondo K. 371 and the first movement of Eine Kleine Nachtmusik (titled Sarahnade Mambo) demonstrate the subtlety of classical music with the interventions of the Cuban tradition, extolled by the Havana Lyceum Orchestra. In the other hand, the trumpeter Harold Madrigal Frías displays his virtuosity in the album with the pieces: El Manisero, Dos Gardenias, and Qué Rico El Mambo.

For this month, you will be able to witness this extraordinary musical fusion live at the Rheingau, Kultursommer Nordhessen, Young Euro Classic festivals in Berlin City, and Elbphilharmonie in the town of Hamburg in Germany.

Much of the proceeds from the purchase of the Mozart & Mambo album are for the benefit of the Havana Lyceum Orchestra to provide them with modern and new musical instruments.

Who is Sarah Willis?

Based on the biography written by Sarah

Sarah Willis in black dress with French horn on her legs
Sarah Willis was included on Queen Elizabeth’s Birthday Honor Roll, which indicates that she has been granted the title of Member of the British Empire

“People often ask me for more details about my life and my career. No dates or names, but about the how and why. So, I share a little more of the most influential and inspiring events of my life playing the Horn.

… It is true that I decided to play the Horn in my first Trumpet lesson. Actually, my first teacher was the Trombone and I adored it and the Trumpet, so I practiced as much as I could… I was used to practicing. My parents were quite strict about it, something for which I am very grateful.

… School became quite a lonely place as my classmates didn’t understand my passion truly.

… I must say that being a member of various youth orchestras was one of the most important and enjoyable parts of my musical training. Here, I met other young people who did not find it strange to spend a lot of time just practicing and listening to classical music.

After 3 years at the London music school, I “discovered” Berlin. The city was incredibly vibrant and exciting, and the first time I heard the local Philharmonic live, I decided that I had to be as close to this orchestra as possible, so I moved there. My first job was with the State Opera under the direction of Daniel Barenboim in 1991, just after the fall of the Wall that ran through the capital, so it was a very exciting time to be in the city at that time.

In 2001, I won the position at the Berliner Philharmoniker, something I had dreamed of since I first heard them play.

I started playing an Alexander horn when I was 16 years old. It was very unusual in England! I fell in love with the sound of this speaker and would not play anything else.

… My day job takes up most of my time and mental space, but since I started doing interviews with soloists and conductors for the Digital Concert Hall of the Berlin Philharmonic Orchestra (BPh) and I became involved as a mentor and presenter of the BPh on YouTube since 2011, I have become very passionate about online music communication.

I started Horn Hangouts (musician talk show) in 2013 and have been presenting the Sarah’s Music TV show (conversations format with conductors, students, musicians, and dancers) for Deutsche Welle TV since 2014.

I love doing both with passion and I enjoy connecting with musicians from all over the world, reaching out to people who may not have easy access to live concerts or teachers”.

SalsaGoogle is International Salsa Magazine

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Bobby Valentin, the King of Bass at the Fania All-Stars Machinery

Bobby Valentin The mind of a master

Roberto Valentin “Bobby Valentin” was one of the main collaborators and arrangers of the Fania All-Stars in the 1970s, over which time he also recorded numerous solo albums. Born in 1941 in the locality of Orocovis, Puerto Rico, he began playing guitar as a child and won a contest with a band that he conducted himself at the age of 11.

He began his trumpet studies at the age of 15 shortly before he moved with his family to New York, where he continued his studies under the direction of Carmina Caruso. In 1958 he started his professional career with the Joe Quijano’s Orchestra.

Bobby Valentin, the King of the Bass of Fania All-Stars Machinery
Bobby Valentin The mind of a master

Valentin spent the next several years working as a trumpeter, guitarist, bassist and arranger for artists such as Willie Rosario, Charlie Palmieri, Ray Barreto, Tito Rodríguez and Willie Bobo, until the year 1965, when he debuted with an orchestra to his name by releasing two albums, one of them was under Johnny Pacheco‘s Fania label.

Bobby Valentin, the King of the Bass

During the following years, Valentin continued to release albums to his name under the Pacheco’s label, but he also began recording and making arrangements for the label’s band, the legendary Fania All Stars, which had the presence of important figures as Rubén Blades, Celia Cruz, Willie Colon, Eddie Palmieri, Papo Lucca, Mongo Santamaría, among many others.

In 1975, he began recording for his own label, but his work with the Fania All Stars goes on until the day. Since then, the musician continues to perform with his orchestra for the most important salsa and jazz festivals from all over the world, while at the beginning of the decade Valentin contributed arrangements for some Pacheco‘s songs, it was only natural that he released his albums under his new label.

Fania All-Stars, to which he helped define the sound through his bass playing, in classic albums of the 1970s such as the Tribute to Tito Rodríguez or the live album at Yankee Stadium.
Bobby Valentín moved with his orchestra to Puerto Rico in 1968.

And while Bobby Valentin moved with his orchestra to Puerto Rico in 1968, he continued to travel often to New York to record for Fania, in addition to working and arranging songs for the label’s band, the Fania All-Stars to which he helped define the sound through his bass, on classic albums of the 1970s like the Tribute to Tito Rodriguez or the live album at Yankee Stadium.

In 1978 he began recording for his own label, Bronco Records, through which he recorded “La boda de ella“, a song that became one of the most important of his career.In addition to continuing to release albums for his own label, the latter of which saw the light in 2016 under the name “Mi Ritmo es bueno” and Mind Of A Master in 2018.

The pop classic The Twist composed by Hank Ballard and popularized by Chubby Checker in 1960, now sounds in salsa clave in a new version created by musician, arranger and composer Bobby Valentin y su Orquesta.

For award-winning Puerto Rican composer, arranger, producer and musical director, to remember is to live, as a result of which he presented the song in Spanish and dance in order to interest the new generations.

“When I was based in New York, this was a boom, Chubby Checker recorded it! At that time, what was done in rock & roll and today’s music is called salsa and it was all about dancing. There was the chachachá, the pachanga, the boogaloo… Everything was visual, with dancing! Chubby Checkerwas in all the TV shows… I recorded the song a year and a half ago, but the premiere was pushed back for the pandemic. I figured I could do it in salsa without losing the essence of that time,” he said.

Fania All-Stars
Fania All-Stars Roberto Roena, Bobby Valentín, Johnny Pacheco

 

The Twist https://youtu.be/zf-SjdhbH9M

Sources

Amarie Magazine

Fania

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 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

Puerto Rico es Salsero
Bella Martinez “The Irreverent Salsa Writer”.

WebSite: Bella Martinez

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Johnny Cruz Present – July 2021

Bobby cruz

salsa harlem

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Cherry Navarro, ever present despite the time elapsed

Short but successful music career and life trajectory

Alexis Enrique Navarro Velásquez, artistically known as Cherry Navarro, was a singer and musician from Venezuela, whose talent quickly became evident in a variety of rhythms such as pop, ballads, and others. He was born on 9 July 1944 in Caripito, Monagas State, from the union of Manuel Rafael Navarro and María de Jesús Velásquez de Navarro. 

Young Alexis was only 14 years old when his mother decided to move to the country’s capital, specifically to the El Valle parish, where he began his formal education. Around this time, he met another future Venezuelan music legend, José Luis Rodríguez El Puma. The boys not only became good friends, but also they formed their first musical group known as Canaima, which took its first steps at parties and small gatherings.   

José Luis Rodríguez next to Cherry Navarro
José Luis Rodríguez “El Puma” next to Cherry Navarro in their youth

When the artist decided that he wanted to devote his life to the music world, he started training in a variety of instruments such as the trombone and piano. It might not be long before his efforts paid off and he managed to perform on the TV show Club del Twist, representing a great start in the public and musical life of this young promise. 

After having earned considerable fame, he began to be part of the Chelique Sarabia Y Su Conjunto, with which he had intense television activities,  making presentations in the most popular variety shows of that moment. One of them was that of the unforgotten presenter Renny Ottolina. 

Cherry Navarro next to Renny Otto
Cherry Navarro performing on The Renny Show

In the early 60s, he met his first wife and mother of his only son, Belkis Montero, but the relationship would not last for long due to the travel and continued musical commitments of the artist. The success that he was accomplishing caused the end of his marriage, but this, far from discouraging the singer, further boosted his career and provided him with the necessary push to start out as a soloist. 

After seeing one of his performances in the programme hosted by Chelique Sarabia Cada Minuto Una Estrella, businessman Renato Capriles proposed him to join Los Melódicos, with whom he recorded a few singles, but then he quit the orchestra and ventured to experience a solo career. 

Cherry Navarro and Chelique Sarabia
Cherry Navarro next to Renato Capriles

Thanks to the support and contacts provided by his new partner María De Las Casas, Navarro managed to sign an important contract with the record label Polydor, with which he recorded his first solo album. That was how the artist finally established himself as a solo artist with a short, but very successful musical career. Something that characterized the musician is that he ever wanted to stand out from other artists, so he always found a way to give a unique touch to his outfits and musical arrangements. 

After a very intense artistic career and life trajectory, he fell ill as a result of medullary aplasia which took away his life on 28 September 1967 at the age of 23, ending his life, but giving rise to a music legend. 

The burial of Cherry Navarro in 1967
A vast crowd took part in the burial of Cherry Navarro in 1967

The origin of the name Cherry Navarro  

Many could see that Cherry Navarro was the singer’s artistic name and perhaps others are wondering where this invention that would immortalize the artist for generations came from. Well, we have recently spoken with a dear childhood friend of Cherry Navarro, who has some interesting things to mention and we quote his words verbatim:   

«Good morning, good afternoon, good evening. This is Luis Guillermo Rangel. I am a person one of those who grew up in Coche, in the urbanization Delgado Chalbaud, since I was nine or ten. During the 1950-60s, I had the honor of growing up with the respected and beloved Navarro family. Cherry’s mother, Mrs. María Jesús, and his brothers Manuel, René, Carlitos, Cherry, Leslie, and another older sister whose name escapes me at the moment.  

After we met for some time in the urbanization, we even formed a Venezuelan music group and entered a music contest that was on Channel 2, Radio Caracas Televisión. It was a program broadcast at 6:00 p.m. and was called “El Programa de José Bhor”. He was an Argentinian man who came to Venezuela to do television and spaces, including this original tv show.  

Through music, we as restless young people formed a group bwith friends who lived in the same parish between El Valle, Coche, and the urbanization Delgado Chalbaud. Its director and founder was our friend Frank Acevedo, who was a renowed harpist. In the meantime, I was the cuatro player and let’s say I was an alternate member because I was not fixed there. However, I had my group with Cherry Navarro until we integrated to the CONJUNTO  ALMA JUVEIL DE CHELIQUE SARABIA. At the José Bhor’s show, we participated, performed, sang, and won first place in that contest. As I said then, that was on Radio Caracas Televisión.   

But ahead, Cherry, or let’s call him Enrique, moved to Los Chaguaramos and I to La Campiña. If memory serves me, he lived in the Naiguatá building. In front of the Luis Caballero Mejías Industrial Technical School (ETI fpr its initials in Spanish) and the Central University of Venezuela (UCV for its initials in Spanish). Cherry moved to that building and we stayed friends.

He did not yet use the nickname “Cherry Navarro” at that time and it was there in Los Chaguaramos where that name was born. I remember there was a candy store where all the boys at ETI AND UCV used to go.

I started to study at ETI, Cherry was very close to me and we took walks in the area with Chelique Sarabía, who studied oil at ETI back then. And we were out there most of the time.  

Cherry had a things for certain sweets, was highly selective and quite a character. In those days, a new chocolate product came out to the consumer market. It was a new product made from chocolate and cookie that would compete with another brand in the market that was well-known. That brand that he liked so much was called “Cherry” and every time we went to the candy store to buy something, he wanted some sweet and us to provide him with his favorite Cherry. Of so much saying “Cherry”, he stayed with that name. that nickname is vivid in our mind, even until today that we affectionaly refer to him as CHERRY NAVARRO, who will remain engraved in the hearts of all his followers.

So much so that when he came here, we said “here comes Cherry” because he was always eating chocolates and candies. It was one of his preferred candies because he was a sweet tooth. So much so that his nickname, as I said earlier, came from that Cherry cookie and so remained.   

In the family of Cherry in Coche, there were many anecdotes for him. He had a yellow strand of hair on one side and my dad thought he dyed his hair, but he did not. In those days none of that was used. He had a mole there and, of course, we, who had a baseball team there in Coche, made fun of him and someone came up with the name “tongolele”. She was a trendy Mexican actress and when someone called him “tongolele” he got angry because he did not like to be called in this way. Cherry was very friendly and pleasant, but I remember that he was always in fashion, so the nickname “tongolele” went very well. For that reason, “tongolele” stayed in Coche for quite some time.   

We organized many get-togethers with friends that ended in fights because Cherry also liked to throw punches, but he did not like to be called in this way. 

I remember once on Radio Caracas Televisión, when we entered the programme Club Musical with Chelique Sarabia Y Su Conjunto, someone from the audience approached Cherry and called him ‘tongolele. He just looked at him in the studio and said “Look, if you call me ‘tongolele’ again, you don’t know what’s waiting for you”. I do not forget that, either. That is the story of our great Cherry Navarro and may the good Lord rest his soul because he was a great friend and brother. We grew up from the age of 10 or 11 and spent so much time together. He died at 23 on 26 September because he was born on July 1943. I was older than him by three or four years.   

Thanks a lot for the interview and we are to order.

God bless you and thank you». 

Words from the friend and teammate of Cherry Navarro from the Conjunto de Chelique Sarabia, Luis Guillermo Rangel 

Luis Guillermo Rangel and his guitar
Luis Guillermo Rangel holding his guitar

 

Luis Guillermo Rangel’s Facebook page: Luis Guillermo Rangel

 

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.