Search Results for: Salsa Music

Manny Mieles Singer, Musician, Arranger and Producer

By: Diana Marie (ISM Correspondent in Miami)

From his own recording studio located in New York, the talented Manny Mieles has been providing good music to an extensive fan base around the night within their respective cities and alternating with big ones within the tropical market.

Born in New York City to Puerto Rican parents, Manuel “Manny” Mieles began his career as a pianist at the age of 15.

In 1983, he joined the Orquesta Generación and remained with it for four years. In 1987, he joined the Orquesta Herencia Latina as a lead singer. That same year he recorded his first musical production with Conjunto Imagen entitled “Algo Nuevo” since then Manny Mieles has become a sensation in the salsa genre.

Years later, he collaborated as lead singer with Johnny Ray “Salsa con Clase”, his performance within the salsa market has given him the privilege of sharing on the stage and being part of the musical repertoire of great artists and salsa legends such as; Marvin Santiago, Ismael Miranda, Richie Ray and Bobby Cruz (Carnegie Hall. NY), Hector Tricoche and Lalo Rodriguez among others.

From his own recording studio located in New York, the talented Manny Mieles has been bringing you great music. — Manny Mieles Singer, Musician, Arranger and Producer

And in other occasions, he has participated in tours of artists like Frankie Negrón, Nino Segarra, Anthony Cruz, Roberto Blades, Viti Ruiz, Paquito Guzmán, Michael Stuart, and artists of the LP signature. All-Stars.

Manny Mieles participated in 2005 in the song recorded by the great singer Ray Villegas titled “Puerto Rico” which has become an anthem for the inhabitants of the island of enchantment and the entire world; and which is heard as a voice of encouragement for all Puerto Ricans not to let themselves be defeated by difficult moments that are happening in the present.

His dedication and professionalism have led him to participate in various festivals within AND outside of New York City, recreational parks, beaches and private events, such as “The 116th Street Festival”, “South Street Seaport” “The National Puerto Rican Day Parade”, “NBC Stage”, “Univision” and “Telemundo”, among others.

Manny Mieles Singer, Musician, Arranger and Producer — From his own recording studio located in New York, the talented Manny Mieles

He also worked with Marc Anthony and Jennifer Lopez in the film “El Cantante The Story”, based on the life of the legendary “Cantante de los Cantantes”, Hector Lavoe. In his spare time Manny Mieles is a producer, composer, sound engineer and chorus player.

In 2006 he produced and recorded the production “Paso de Gigante” of the conguero “Pequeño Johnny” and his own production “Sabrosexy Plin”, where the song “Llego el Amor” stands out.

At present Manny Mieles is part of the presentations of the artists of the new movement of the Dominican salsa within the United States, such as Yiyo Sarante, Michell, Alex Matos, Asdrubal, David Kada and Sexappeal, among others.

In July 2015 the new production Manny Mieles mi princesa was released with the first song that was titled.

INFIEL

https://www.youtube.com/watch?v=53T5PGw-R1I+

A mix of Bachata recorded by Karlos Rose, the arrangements were made by Carli Maldonado, percussionist who accompanies artists such as Tony Vega, Victor Manuel, Gilberto Santa Rosa, Tito Nieves and others. At present this song is being played a lot in the Dominican Republic, Ecuador, Peru and Mexico. The song has had the privilege of being selected for broadcast by Salsa RD of La Republica Domicana and has been heard extensively on Fuego 90. A few months later I continued working and had the opportunity to listen to a song entitled

I BELIEVE IN YOU

The song that the group Riek recorded is a mix of Balada, which touched my heart when I listened to it and I could identify with it. It was arranged by J.R. Rivera, a young man who in spite of his youth is gaining popularity and many singers with recognition have noticed something different in his arrangements because of the unique and peculiar way that his style has. Continue working and the theme that followed and recorded was

DIGITALISE

Theme recorded by Master David Bisbal, Spanish singer recognized nationally and internationally. When I heard the song I immediately identified with it and it touched my heart, without wasting time I contacted J.R Rivera who was the one who made all the musical arrangements to turn it into a Romantic Salsa.

At this moment Dígale is occupying the first places in Canada, Toronto, Venezuela, Puerto Rico and New York by the radio station Tropicalísima located in Mexico.

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Bella Martinez, the irreverent Salsa writer

Life is fun. Dare to live it

Bella Martínez was born in Puerto Rico. She is a graduate of Natural Sciences from the University of Puerto Rico, Río Piedras Campus. She lived in the state of North Dakota as a member of the United States Air Force. She completed her master’s in Health Services Administration and Quantitative Methods at Central Michigan University, Mount Pleasant, Michigan.

In 2016 she published Schizophrenic: Imaginary Episodes from a Different Life. In 2020 she wrote Insurrecta: Schizophrenic Chronicles of an Indomitable Life from Ediciones Scriba NYC. She maintains contact with her followers through the blog Life is beautiful, dare to live it. Her mission is to inspire Spanish-speaking people around the world to live life to the fullest.

Her writings have been published in several international literary anthologies, including: Divina, la mujer en twenty voices by Ediciones Scriba NYC -awarded at the International Latino Book Awards 2019, in Los Angeles, California- and in various editions of the poetry book Siglema 575, of minimalist poetry, Ediciones Scriba NYC. If you want to know more about Bella, you can do so by visiting Bellamartinezescribe.com or through her pages on Instagram, Facebook, Twitter, YouTube and Pinterest.

Bella Martinez led a pretty fun life — Bella Martinez, the irreverent Salsa writer

Bella Martinez I lead a pretty funny, sometimes complicated life; although I try every day to simplify it. I’ve even thought that one day I could be a minimalist…. Sure, in my own way; like everything else. I almost forgot to mention that I’m a vegan and a salsa dancer who dances until she collapses.

I should add that I love music that allows me to dance and express what is otherwise impossible to write or draw. In short; I dance salsa, I cook, I write and I dare to face whatever life brings me.

My mission is to inspire Spanish-speaking people around the world to dare to live a unique life because as I titled my blog: “La vida es bella…. Dare to live it”; I believe that life is to be lived the way you want it to be lived, doing good without looking out for others. I invite you to take a look at my blog .

I post about dance, music, beauty, fashion, vegan cooking, literature and everything else I can think of. Well, at least that’s the intention.

As for my narrative; and according to my great friend of always, Dr. Lopez Feliciano: “Through humor, and the narrative of the transgenerational transmission of the tribe, core values such as freedom, truth, integrity and fidelity are exposed.

The schizophrenic chronicles unveil an imaginary world in which cats, heifers, lice, mice are personified; and shoes, brooms, cars, keys and paper dolls are animated. The approach to reality is fantastic spun with ideas of references that are only experienced by an untamed life.”

And I say, “I expose in my memoirs through wacky stories and mocking the harsh daily reality of an ordinary routine; visiting stamps of my memories and nostalgically longing for the peasant activities of my ancestors whom I remember daily. You can’t help but fall in love with my picturesque narrative…”

The memories of Jimmie Morales comes to us from the pen of Puerto Rican writer Bella Martínez. In this new proposal by Martinez, she herself reported that: “it details the memoirs of the conga player who made his way into the world of salsa to become one of the most influential percussionists in the genre he has dedicated his life.”

From the pen of Puerto Rican writer Bella Martínez comes: A Conguero for History, The Memoirs of Jimmie Morales. — Bella Martinez, the irreverent Salsa writer
Life is fun. Dare to live it

The official launch of this daring text in which the author stresses the importance of our music and the influence that Puerto Rican performers have had throughout the history of salsa beyond our shores was on Thursday 19 November 19 2020.

This launch coincided with Puerto Rican’s Day. The list of contributors Bella counted on during drafting included the maestro Willie Rosario, who wrote the prologue, and the most prolific soloist of commercial salsa: Gilberto Santa Rosa, who wrote the introduction and the back-cover text. The virtual presentation of Un conguero para la historia was sponsored and streamed through the Instituto de Cultura Puertorriqueña.

The text is available in paper form through the following links:

Amazon.com – Global:

Un conguero para la historia: Las memorias de Jimmie Morales (Paperback).

Walmart.com:

Un conguero para la historia, Las memorias de Jimmie Morales (Hardcover).

The book is also available at: – Fundación Nacional para la Cultura Popular, Old San Juan – Puerto Rico.

– El Candil Library, Ponce – Puerto Rico

– Laberinto Library, Old San Juan – Puerto Rico

– Pure Sound, Bayamón – Puerto Rico

– RZayas Music, Juana Días – Puerto Rico

– The Bookmark, San Patricio Plaza – Puerto Rico

In the following text, fro-Antillean music researcher and Colombian journalist Robert Téllez Moreno, who is a biographer of Ray Barretto and Willie Rosario, summarizes what the reader will find in the memoirs that the conga player Jimmie Morales shares with his followers through the voice of Bella Martínez:

Percussionist Jimmie Morales was born in Bridgeport, Connecticut. The son of Puerto Rican parents and owner of a natural talent, he developed an interest in music when as a child he listened to groups such as The Beatles and The Rolling Stones.

As from 1967, Jimmie and his family settled in Puerto Rico, from where his connection with Afro-Caribbean music emerged, after having listened to various Cuban, Puerto Rican and New York conga players such as Ray Barretto, Patato Valdez, Candido Camero, Mongo Santamaria, Johnny ‘Dandy’ Rodriguez, Milton Cardona and Eddie Montalvo, among others.

His first approach to the instrument occurred when his neighbor, Rubén Beltrán allowed him to play congas at his home. Later, he joined the youth group ‘La Justicia’ , with which he began to work permanently, while having his own instrument given away by his father.

After three years of work with ‘La Justicia’, Jimmie Morales joined Beto Tirado’s ‘La Predilecta’, in which he remained until he joined Tito Allen’s orchestra to work as a conga player until 1978, when he received an invitation from the maestro Willie Rosario, ‘Míster Afinque’, to join his orchestra in place of Papo Pepín.

According to Jimmie Morales, during those eight consecutive years, he lived his most formative stage, and what he considers his “formal training in the music industry”. This happened when he was a member of Willie Rosario’s orchestra, which was one of the greatest institutions of the salsa movement.

With Willie Rosario’s orchestra Jimmie Morales participated in the productions: ‘El Rey del ritmo’, ‘El de a 20 de Willie’, ‘The Portrait of a Salsa Man’, ‘Atízame el fogón’, ‘The Salsa Machine’, ‘Nuevos Horizontes’, ‘Afincando’ and ‘Nueva Cosecha’.

In 1986, Jimmie Morales joined Gilberto Santa Rosa’s nascent orchestra ‘El Caballero de la Salsa’, participating in multiple recordings and traveling the world.

At the same time, Morales began an impressive career as a top-level studio musician. He received credit for hundreds of recordings of such artists as: Lalo Rodríguez, Oscar León, Paquito Guzmán, Eddie Santiago, David Pabón, Héctor Tricoche, Edgard Joel, Marvin Santiago, Tito Rojas, Rey Ruiz, Ismael Miranda and Frankie Ruiz, the latter, with this latter he participated in all his solo albums.

As an accompanying musician, Jimmie Morales has appeared as an accompanying musician on hundred of recordings of great figures such as: Willie Colón, Ismael Miranda, Juan Luis Guerra, Tito Nieves and Jerry Rivera, among many others.

In 2010, as a leader of his own proyect, Jimmie Morales released ‘El Tumbao’ with the songs “Píntate Los Labios María” popularized by Cuban guitarist of the Buena Vista Social Club Elíades Ochoa and arranged Louis Cruz, who was Ray Barretto’s pianist in the 70s. The recording also includs “The Continental”, a jazz standard, arranged by seasoned José Madera, who was percussionist and arranger for Tito Puente’s orchestra for more than 30 years.

Recently, Jimmie Morales has contributed with his talent to the recordings: ’40… y contando en vivo desde Puerto Rico’ by Gilberto Santa Rosa, an album that captures one of the most emotional nights of the recent tour of the ‘Caballero de la Salsa’ and ‘Opus’, the eighth album by singer Marc Anthony, and recorded at Art House Society and Criteria Studios in Miami under the direction of multi-Grammy Award winning pianist and producer Sergio George.

Jimmie Morales, continues his commitment to music, from the area of pedagogy, sharing his experience and knowledge through workshops and clinics provided to young people from different countries, who have a genuine interest in music.

Bella Martínez: Amazon

Bella Martinez, the irreverent Salsa writer

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Understanding the music business

By: Eduardo Guilarte.

Why are so many artists broke

The mystifying extravagant language of music disseminates passions in a land the written word has never known. Music fulfills two major human needs, the need for self-identity, and to be accepted, to belong. Freud- “adopting the model of another is the psychological process of Self-Identity”. That T-shirt with “Rolling Stones,” is broadcasting “these are my values” does anyone out there feel the same?

Music identifies and defines our values. When music is sold, there’s a lot more being sold. Your values are what is sold. Your musical selection makes you predictable. Madison Avenue advertising was excited, with needs there are opportunities. Not much different than “sex sells.” Well, music sells.

The merchants learned the art & science of anchoring. Take the Pepsi / Michael Jackson commercial. Story says, that Pepsi offered Michael $15 million dollars for a commercial. However, Michael set conditions. He refused to tell people to drink Pepsi, wouldn’t hold the product in his hands, the product could not appear in the same frame as Michael. Pepsi agreed to all the conditions. Michael appeared performing, followed by series of fade in and out. Michael never appeared in the same frame with Pepsi. The commercial was a resounding success, shot with Michael Jackson performing, then a series of fades-in/out.

Technology is changing music

Technology is constantly changing industry and the world. Look at taxis. A New York taxi medallion was selling for $250,00 to $500,000, then Uber happened. An application with a better formula. Uber gave better security, women could work as drivers, no exchange of money, work the hours you choose, response time greatly reduced, and a great contributor to the reduction of unemployment.

Another example of technology at work are applications like Shazam, Sound hound, Hound, Spot search. You hear a song playing and you want to know the name and artists. Apart from giving you the information for free, what it is really doing is gathering data for the industry. These apps are really telling the industry who and what is popular with the people. It’s a guide to very current trends.

The dot com era revolutionized the music industry. In 1999, Shawn Fanning and Sean Parker, developed MP3 file sharing. Napster, with 80 million users taught a new way of consuming music. Universal, Warner and Sony who control 80% of western music were furious. Lawsuits were filed, arguing copyright infringement and pirating. Although a 9^th circuit Federal judge blocked Napster, the door was now open. Through that door entered Spotify, Apple Music, Tidal, Deezer, You Tube Music, Pandora, Google Music and others with music streaming services.

First equipment for entertainment — record player, television and radio

There has always been a music industry. The 20^th century invention of the radio, television and record player redefined the industry. Those inventions became the start of what we call today the music industry. A multi-billion-dollar industry. Commercializing music is very different from being a minstrel. Two very different animals.

The world’s leading contemporary music institution, recommends that if you want to go into the music business, you take a year off and study the “business.” ICE, Institute for Creative Entrepreneurship at the Berklee College of Music in Boston, MA, offers online or on campus programs to learn the business. Berklee College phone +1617 266-1400.

It’s an understatement when they say that “how the music industry works and how the money is distributed, is very hard to understand.” Publications on the subject are:

All you need to know about the Music Business by Donald S Passman, top music attorney Harvard Law. Reputed to know his business but he doesn’t go into music streaming which is what happens now.
Music Money and Success by Jeffrey Brabec & Todd Brabec, twins, tracs the flow of money, using real examples. Not an easy read but it goes in depth. Todd was executive VP for ASCAP for more than 30 years
Artist Management for the music business by Paul Allen, as the importance of labels diminishes, the manager’s role is more important.
Hit Men: Power Brokers and Fast Money Inside the Music Business by Fredaic Dannen, it has become the unofficial history of the pop music business. Journalist who investigated the behind-the-scenes activity of the major labels in the 70’s and 80’s. Reporting excess, greed, ruthless practices, struggle for money and power and bitter rivalries between biggest labels at the height of the industry. However, he is heavily criticked by former CBS head Walter Yetnikoff.

The first order of business is understanding the elements that go into making a song. Author of the lyrics, composer of the music. A trademark is not a copyright. Examples of what you can copyright are novels, poems, photographs, movies, lyrics to a song, musical compositions in the form of sheet music, sound recordings, paintings and more, like software code for a website or code for an application.

Once the work is created you acquire rights, often referred to as the bundle of rights. They are the right to:

To reproduce including phonorecords, physical or digital format
Prepare derivative works based on the original
Distribute and sell copies of the work, or rent, lease or transfer ownership.
To perform the work
To display
Audio transmission publicly or digital

These rights are yours regardless of filing a copyright. However, you should copyright the song. 17 U.S. Code §106 is where you will find the copyright law that talks about the bundle of rights that the bill gives to copyright owners. At www.Copyright.gov you can create an online account and register your song. A publisher promotes the song, gets it added to musical libraries, pitches it film, radio, television, etc.

Copyritht

Anyone who uses your work, including streaming, must pay mechanical royalties. So, who will collect the royalties for you? Performance Rights Organizations/Societies are tasked with getting you your money. ASCAP, BMI, PRS, SOUND EXCHANGE, Descarga.com, Kobalt Music are some of the PRO’s.

In the United States the government has predetermined mechanically the royalties. Any artist can record your song under the law of “compulsory licenses.” They must put the author on notice of intent and pay the royalties. As an example Simon Diaz wrote and composed “Caballo Viejo.” Many artists recorded their own versions, like Roberto Torres, Celia Cruz, Ray Conniff, Ruben Blades, and Placido Domingo. Simon Diaz

The power of the major labels usually dictated who became a star and who got sent home. Not always though, we hear that Shakira auditioned for Sony and was told to go home, that she didn’t know how to sing. They also passed on “The Beatles” losing an incredible fortune. It was common for artists to throw themselves at the feet of the labels signing predatory contracts.

We hear of advance money being paid if the artist signed. These were contracts that indicated 15% of the record sales to the artist and the other 85% to the label. However, the contracts had clauses in which the artist sold the ownership copyrights, and agreed to pay many costs, which resulted in the 15% being reduced beyond zero, resulting in an artist in debt.

How money moves in contracts — Flow Chart

Historically Major Labels have had the funds to commercialize new talent and pay advances. Yet, technology is again making changes and opening new doors to the artists. Artists are using Social Media to create a following for their music. Kobalt is the world’s leading independent music services company. Founded by Swedish musician Willard Ahdritz, Founder & CEO who says that old model is on the way out. Kobalt was ahead with its technology. In 2017 it reported representing over 25,000 songwriters, 600 publishers, and 20,000 independent artists. On average over 40% of the top 100 songs both in US and UK. Kobalt’s global technology platform is uniquely able to track and collect royalties for the billions of micro-payments per song in digital music today [email protected]

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José Alberto “The Nightingale” Several genres one style, composer and singer of Cuban music

Cuban Cultural with José Alberto “El Ruiseñor” Nominated for Best Latin Tropical Album “Mi Tumbao”For the 63^rdGrammy^®Awards.

Hollywood, CA. The 63^rd Grammy Nominations were announced on November 24, 2020.

The astonishing surprise was the Nomination of Cuban born José Alberto “El Ruiseñor”, Nominated for Best Tropical Latin Album “Mi Tumbao”.

The excitement is building and it could not have happened to a better man.

José Alberto Tamayo Diaz, aka The Nightingale. Born into a musical family, José’s parents played a key role in his musical journey; his father was a tres player and his mother was a singer.

At fourteen years young José flourished as the leader of the Cuban based band, Grupo Rock Lasser; his charisma and popularity spurred his passion, and the rest is history.

José Alberto "The Nightingale" Several genres one style Composer and singer of Cuban music — José Alberto “The Nightingale” Composer and singer of Cuban music

José Alberto has dedicated his love of Cuba through his music. A win for José Alberto on Jan 31, 2021 would make him the first solo Cuban male vocalist to win a Grammy in 21 years, since Chucho Valdez in 1999.

El Ruiseñor confesses, “The Grammy Awards are way up there, it is the Oscars for music, winning a Grammy award would mean a lot to my country.”

Hailing from Bayamo, the capital city of the Granma Province of Eastern Cuba, “Bayamo is my life”, Alberto admits proudly in reflection of his group BNM, Bayamo National Movement.

For over 30 years, Jose has thrived as a prominent citizen of Cuba, and has constantly worked hard for his city, his music and his valuable culture. As the most internationally awarded solo artist of Granma, José Alberto El Ruiseñor has dedicated many songs to his fellow countrymen.

With the pandemic numbers growing, he curated an online philanthropic concert, to recognize the efforts of doctors and nurses titled, “Cuba Saves”, broadcasted from his own backyard. Before the pandemic he was keeping up with his hometown roots by performing every Saturday in the main street of Bayamo.

Hailing from Bayamo, the capital of Granma province in eastern Cuba, "Bayamo es mi vida" (Bayamo is my life) — “Bayamo is my life” José Alberto “The Nightingale”

The album title, “Mi Tumbao” translated to “swag” or “grace to move,” transcends the listener into the origins of Cuban music, and the raw roots of his Cuban nation.

The album breathes three decades of artistic life, composed of Guaracha, Son, Salsa, Cumbia, and Merengue. Homage is vibrantly paid to his influencers and godfathers of Cuban music; Sindo Garay, Ñico Saquito and Miguel Matamoros, all who were introduced to him by his father.

The album has 10 illuminating, action packed tracks, some unpublished and others adaptations of known Cuban classics.

In the feature track “Emigrante” (Immigrant), José narrates the overlooked struggles of migrant life with pure vulnerability, through lyrics such as “This has to change, down ambitions, there is only one heaven in this world, why so many divisions”.

In the title track, "Emigrante", José narrates with pure vulnerability the forgotten struggles of migrant life, through lyrics such as "This has to change, lower your ambitions, there's only one heaven in this world, why so many divisions". — The album’s title, “Mi Tumbao”, translates as “swag” or “grace to move”,

A timely song meant for acknowledging all the current problems brought on by controversial governments. In contrast, José transforms the internationally known anthem, “Lagrimas Negras” (Black Tears), to more of an inspired traditional salsa.

The project is backed by English label Tumi Music. With legendary A&R director Mo Fini at the helm, the UK based label specializes in authentic and original music from all corners of Latin America.

José Alberto’s innate vocal techniques, and the ability to relate to the common man through his music, will captivate and inspire any and all of its listeners.. Miracles do happen and this time it’s all rolled up in a profoundly talented troubadour, José Alberto; he is a force to be reckoned with. If you’ve never heard his music before, now is the time to listen; make yourself a cubano and a cafecito, take the old Victrola for a spin, your feet will do all the work. José Alberto’s contagious rhythmic vocals will get you going!

With legendary A&R director Mo Fini at the helm, the UK-based label specializes in authentic and original music from all corners of Latin America. — José Alberto Tumi Records

José Alberto

Tumi Records

www.tumimusic.com

Media Inquiries

Jodi Jackson

JJ Entertainment

323-356-0797

[email protected]

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José Madera Niño “Salsa became part of my growth”.

Latinoamerica / Venezuela / Caraca

The also visual artist has the technology to complete his project in the middle of the COVID-19 pandemic.

The Venezuelan José Madera Niño & 3er.Mundo Orchestra launched its new song “Me gusta, pero…” in the voice of guest singer Memo Arroyave, accompanied by a video clip showing the other facet of Madera Niño: painting. This single is the fifth one to be included in his second album Matices.

The musician, composer, and orchestra leader said: “This song of my own was already in post-production when the pandemic was announced. It would not have been possible to complete this project from our homes without technology, the dedication and commitment of Irving Manuel and Jorge Estevez to mixing and mastering, the working hours of Alfredo Montilla for the editing of the video between Venezuela and Colombia“.

José “Flaco” Bermúdez was at the forefront of the musical direction and arrangements. Yomar Méndez “Caballo” (timbal), Arnaldo Guacarán “Patatín” (bongó and bell), Wilman Sánchez Jr. (trumpets), Hugo Olivero (saxophone), José Antonio Padilla (trombone), David González (bass) and Irving Manuel (piano); Rodrigo Mendoza and Eloy Ríos on backing vocals, with José Madera Niño (congas and minor percussion) as executive producer.

Matices combines the voice color diversity of each of the guest soloists thus far such as Pedrito Flores, Irving Manuel, and Charlie Guzman. This salsa album will be composed of ten pieces and shall have the participation of several performers: “We want to present the world with good music, food for the soul and for the spirit in this difficult time we are living“.

MULTIFACETED

La orquesta venezolana José Madera Niño & 3er.Mundo lanzó su nueva canción "Me gusta, pero..." — José Madera Niño “Salsa became part of my growth”.

It should be emphad that José Madera Niño is extremely multifaceted because in addition to be a visual artist as a profession, he is also a musician by conviction: “I have been drawing as far back as I can remember. When I was 14, I entered the School of Plastic Arts Cristóbal Rojas. I alternated my artistic activities with my high school studies and weekends were for the music”.

From there, he became a self-taught percussionist from a very young age thanks to the salsa boom in Venezuela in the mid-70s. This synergy between his two passions led him to form his orchestra: José Madera Niño & 3er Mundo, which flirts with Latin Jazz.

It seeks to extrapolate his plastic compositions to music and then create true works of art for the demanding music lover’s ear and the elegant dancer at the same time.

His first recording De amor, desamor y rumba took four years to come to light, due to the pauses imposed by self-management: “It is not easy to make an album without sound financial support. This first album is a sort of day-in and day-out chronicle of any ordinary individual. Inspired by all the music I listened to in my teens in simple and clear language”.

"It's not easy to make a record without a solid financial backing. This first album is a kind of chronicle of the everyday life of any ordinary person. Inspired by all the music I listened to in my adolescence, with a simple and diaphanous language". — The Venezuelan orchestra José Madera Niño ; 3er.Mundo

Journalist María Fernanda León recently interviewed him about his second CD Matices, consisting of ten musical tracks. He has released four of them on digital platforms from last year to 2020.

-Why the name 3er Mundo?

-The name thing was an irreverent way of saying that in spite of our disadvantages, we are capable of great things from passion, talent, and study. We are much more than a qualification.

-Why salsa and not another genre?

-I listen to all kinds of music. In fact, when deciding to live from it, we get to handle different genres and I enjoy that, but I have a special taste for salsa because it became part of my growth. It was always present in the atmosphere while I was playing in the street in my neighborhood, in high school, and on the bus when I was going to art school.

– Most of the songs are written in your handwriting, what inspires you?

-I was always interested in writing, I had a lot of unfinished ideas. When I began pre-production I dusted off all that material and turned it into songs.

-Why Matices?

– This production is a kind of canvas; music is the pigment, the stuff. The musicians and singers are their nuances. I think it is a different production from the first one, but the same essence.

-You changed your concept of an album with only one performer. Now you invited several of them…

-For me, it was very important to build a sonority for the public to recognize us when listening to one of our songs. Gustavo Gerardo was for a long time the voice that identified us, but it is not easy to hold someone if you cannot guarantee economic stability. Besides, he was already planning to start a career as a soloist, which by the way is already beginning to bear its first fruits at an international level.

-Who is participating?

-In this second production I have Pedrito Flores, who is an excellent singer and inherited this responsibility of being at the forefront of the band in live performances. Besides, I am privileged to have several guest vocalists such as Rodrigo Mendoza, Irving Manuel, Charlie Guzmán, and Memo Arroyave, among others that I will soon announce. All this with the intention of reaching a wider audience. I think such alliances are beneficial for the genre.

-When will all the songs come out of the oven?

-I have been presenting the songs as singles. Every month or every 45 days I make a release until completing the ten songs. Later last year, I have been released four songs. However, the pandemic that affects the entire world delays the production a little bit further, but we continue to work.

– You are an artist. How do you shuttle between your two passions?

-It’s not easy but I think it would be more difficult not to. I’m not very organized so I live in a constant effort to divide my time. I have participated in more than sixty group exhibitions and three solo exhibitions. My work is present in several art galleries and private collections.

-Your son also ventured into salsa last year. What do you think of the support offered to talent today?

-I think the boys are increasingly better prepared to meet the challenges.

The industry has changed and maybe those of us who have years of experience years in the business spend more time assimilating it. Young people know that besides recording on their own, they have to handle the many forms of promotion, know about graphic design, marketing, etc. That is very good because there are no record labels that invest in emerging artists. There are lots of young talent.

-How do you see salsa in Venezuela? Is there sufficient promotion and support?

-There is not sufficient support so I think we cannot wait any longer, we have to conduct ourselves. Work hard toward our dreams, we must learn to use the tools that technology offers us.

-Do you consider your albums a work of art?

– Yes, they consist of the same elements: color, balance, space, and atmospheres.

-What does José Madera Niño want to show every time he is on stage?

-A good show, a well-assembled band, a costume according to the situation, in short, the respect the public deserves.

Editor/ Lic. María Fernanda León

President of San Juan Producciones

Photos/ Courtesy: José Madera Niño

Por Maria Fernanda Leon, ISM Corresponsal – Caracas – Venezuela

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Search Results for: Salsa Music

By: Diana Marie (ISM Correspondent in Miami)

From his own recording studio located in New York, the talented Manny Mieles has been providing good music to an extensive fan base around the night within their respective cities and alternating with big ones within the tropical market.

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Cuban Cultural with José Alberto “El Ruiseñor” Nominated for Best Latin Tropical Album “Mi Tumbao”For the 63rd Grammy®Awards.

El Ruiseñor confesses, “The Grammy Awards are way up there, it is the Oscars for music, winning a Grammy award would mean a lot to my country.”

In the feature track “Emigrante” (Immigrant), José narrates the overlooked struggles of migrant life with pure vulnerability, through lyrics such as “This has to change, down ambitions, there is only one heaven in this world, why so many divisions”.

The also visual artist has the technology to complete his project in the middle of the COVID-19 pandemic.

Cuban Cultural with José Alberto “El Ruiseñor” Nominated for Best Latin Tropical Album “Mi Tumbao”For the 63^rdGrammy^®Awards.