Marlow Rosado “The Dalí of music” as he is known, closes the year talking about his latest productions and what is coming this 2021.
Marlow Rosado, is a Puerto Rican pianist who has made his way into the salsa genre. A very versatile and creative artist, he has been one of the lucky Latinos to be a Latin Grammy winner. He is an arranger, composer and conductor, his style delves into fusions of Latin jazz and Afro-Cuban traditions. However, he does not hesitate to reinvent himself after each musical production, without losing the flavor that has become his personal hallmark. He leans for the aggressive but fresh and modern rhythm. In addition, he is recognized for his quality productions.
Marlow is a Grammy winner.
“Before the issue of the pandemic, I had released an album … ‘Feminomanía’ a project where the voices are female. The musical production was at its peak, the pandemic arrived and everything came to a standstill, “said the Puerto Rican established in Miami city.
The project concentrated the diversity of different singers of the genre, among them: Carolina La O, Michelle Brava, Brenda K Starr and Aymee Nuviola. In addition, it has 13 songs and the musical participation of Marlow.
Rosado, was one of those artists who took advantage of the global pandemic to the fullest and decided not to lock themselves in apathy. During 2020, he performed two songs that marked his year. They are completely different but were made with the same love and dedication: one of salsa and another of Latin jazz.
Faced with the paralysis of activities worldwide, Marlow opted to enter the recording studio and give life to new productions.
“I went into the studio to produce another album and I started working on two at the same time. From the beginning, he had spoken with singer Frankie Negrón to do a salsa production. The album is called ‘Los colores de la salsa’ in allusion to our surnames Rosado and Negrón. Frankie recently moved to Miami, which made recording easy”, said Rosado.
The artist served as the composer of all the songs, as well as the musical arrangements.
“In the production ‘Los colores de la salsa’ there is a song called ‘Boricuas en Nueva York’ that has that Christmas air and we wanted to release it now to create an energy around those two albums that are coming in February” he added.
“Boricuas en Nueva York” with Frankie Negrón, was distributed under the JN Music Group label. The song has a Puerto Rican salsa rhythm, along with the voices of both singers who emigrated from Puerto Rico to the United States. Rosado was very pleased to work together with Negrón and to give this suitable theme for Christmas.
Marlow Rosado and Frankie Negron.
“Orun” is the following record production, made within the Latin jazz genre and very different from “Los Colores de la Salsa”. With this job he fulfilled a dream he had always had.
“I had always wanted to make a Latin jazz record. I’m a good jazz player and a fan of Edddie Palmieri. I love the career he has made linking salsa and latin jazz at the same time. I made the two albums, I presented them in JN Music Group, they liked them and they quickly told me we want to release them. Both will go on the market in February 2021 ”, said the artist.
The album featured the collaboration of Cuban-born pianist Chucho Valdés and saxophonist Ed Calle. For some, betting on new releases amid the global pandemic was a challenge. However, Rosado took it with good energy and believes that it is not impossible to give them the boost he wants.
“Who knows what happens. Sometimes you make an album at the best times and under the best circumstances and nothing happens. I am positive. I did these two projects in difficult times and look, I got them signed for me. So far I have managed to make the records and have the production company put them out… things that maybe under regular circumstances would not have achieved. We are going to think that this pandemic has come with the happiness that I have been able to make these two albums and that they are going to continue with the push they have been doing so far “, said the musician
Marlow has worked with the best of the industry. He created a song for Yolandita Monge (“Sentimiento Borinqueño”), he has participated in productions by Alejandra Guzmán, Ricky Martin, El Gran Combo, Elvis Crespo, the Puerto Rican Power orchestra, among others. He has also worked with Celia Cruz, Selena, Ricardo Montaner, Olga Tañón, and many more.
Marlow Rosado’s Biography
Marlow Rosado was born and raised in Cataño, in the central area of San Juan in Puerto Rico. Later, he moved to the state of Florida, where he trained in the musical field. He studied up to a master’s degree in jazz.
Rosado is very dear to the children who have known him. In fact, he taught in elementary schools, sharing his passion for music with new generations. His first big break came from being able to work alongside Desmond Child, an American producer and songwriter who has been associated with renowned bands like Aerosmith, Bon Jovi and Kiss. A big leap in his career!
He is the typical Latino who loves his country, and grew up surrounded by his origins. Salsa accompanied him throughout his life. Before he was 10 years old, he was given an electronic organ and it was at that moment that everything changed for him.
He has won two Grammys, an achievement that fills him with great pride.
Marlow and one of his Grammys.
“The Grammys are my before and after in my career. They have given me the right to say: Look, I am right. I have always had my mind outside of what is commercial, making the music that I want to do. The Grammys have given me the right to know that I was right… where my music is going”, he said.
In 2009, together with his orchestra La Riqueña, he recorded his first album known as “Salsalsa”. For Marlow, the team he had was of another level: “The best musicians.” Then, in 2012 came “Retro”, along with his first Grammy Award; “Salsanimal” in 2014; “Harlow Marlow, volume 1” in 2016; and “Feminomanía”.
Harlow Marlow, Vol. 1 mixed elegant style with modern elements and salsa brava. The album was a tribute to his friend Harlow.
“I have a very special respect and affection for Larry Harlow. I have known him for many years. I have worked with him many times. When he came to Miami to play, I put the orchestra together for him. I have an unforgettable memory when I played the Hommy Opera at Lincoln Center. Larry conducted and I played the piano. For me it was an honor. One of the best gifts I have ever received was from him. He gave me the piano that looks like a guitar and I keep it in my studio with great pride. The connection with him is something special ”.
“The Dalí of music” as he is known.
Salsa is its flag and it will continue to innovate within it. Marlow’s career continues to climb. A pianist who has been called “The Dalí of music” because his hands become brushes when he plays the piano, just like the painter’s canvases. Marlow leaves his mark and will continue to give something to talk about. We have no doubts about it!
On Sunday, December 13, Latin music mourned the death of the great pianist and music producer Sony Ovalles, who was a key piece of the merengue and music in his native Dominican Republic. It was known that the cause of death was a heart attack, many industry figures spoke about it:
“Dominican Music is still mourning, the teacher, producer, arranger, pianist Sony Ovalles has just died of a heart attack! Responsible for many hits of Wilfrido Vargas, Jhonny Ventura, Sergio Vargas, Monchy Capricho, Rubby Perez among other great orchestras and Dominican artists! My condolences to his family and friends! Another great musician who becomes part of the Celestial Orchestra! Rest in peace Sony Ovalles’ soul!”, expressed Alejandro Henríquez through his Instagram account.
Ovalles has left a very huge position to fill, since his contribution to Latin music is very great. There are many outstanding artists who owe many of their successes to this genius, whose favorite instrument was the piano. But his talent went beyond the black and white keys, his gift for producing, composing, and arranging the songs with which so many artists and groups became known, could be considered magic. Heaven is now celebrating to the rhythm of the Dominican Sony Ovalles!
Sony Ovalles left a great legacy,
Learn more about the great musician Sony Ovalles
His real name was Rafael Ovalles Amaro, but it was through Sony Ovalles that the industry knew him. He was born in Salcedo, part of the Hermanas Mirabal province, in the always beautiful Dominican Republic, back in the 40s, being the proud son of Carlos Ovalles and Nidia Amaro. His initiation in music did not occur until he was 14, under the tutelage of the great musician Cuto Estévez, who managed to see a future with music for Sony.
He was the pianist of choice of Wlfrido Vargas, Félix del Rosario, Runny Pérez, and many more artists, despite not being in front of the stage, his presence was very powerful alongside the other musicians in the orchestra. Apart from collaborating with solo artists, Sony also lent its talents to great groups such as Joseíto Mateo’s, Los Hermanos Rosario, Las Chicas del Can, along with many more.
In addition to collaborating with great artists, he formed different groups, such as the salsa group El Complot that had Mike Peguero as its interpreter, as well as an orchestra with Vicente Pacheco as singer. Despite standing out in the merengue, he put his touch to several salsa compositions, recorded a complete album with the salsero Michel, highlighting the song Esa mujer.
One of his albums.
There were many hits where he collaborated but the following are some of the most important: Wilfrido Vargas’ Atrevida, 13 años and Bachata merengue; Sergio Vargas’ Noche, La tierra tembló and Por ella; Vicente Pacheco’s El atracador, The New York Band y Tus 20 años. But his repertoire was infinite, demonstrating once again the great talent that exists in the Dominican Republic, one of the Caribbean jewels.
Where the idea of Genaro Masucci, known as Jerry Masucci ((Brooklyn, New York, Oct. 7, 1934 -Argentina Dec. 21, 1997)) and Juan Azarías Pacheco Kiniping, known as Johnny Pacheco ((Santiago, Dominican Republic, Mar. 25, 1935)) to give the title to the record label “Fania” arose.
The name was taken from the old Cuban son: “Fania”, which was successfully performed by the Conjunto Estrellas de Chocolate and composed by Reinaldo Bolaños.
The lyrics present a syncretism between the Spanish and African languages.
Chocolate Stars Set
Members of the Conjunto Estrellas De Chocolate.
Theme: Fania
Author: Reinaldo Bolaños
Voice: Filiberto Hernández Fuentes
Voice: Chinese Lion Lahera Wilson
Voice: Agustín Cabrera .
Three: Andrés “Nino Rivera” Echevarría
Bass guitar: Sergio De Cuba
Bongos: “Pichi”
Piano: David Palomares
Trumpet: Armando “El Gorilla” Albertini
Felix “Chocolate” Alfonso was not afraid to put together and lead an ensemble in the style of Arsenio and Chappottín in 1959. The ensemble format was part of the medium in which he swam like a fish in water.
He knew the best montuneros musicians and called them together. The good ensembles still retained the favor of part of the public.
Jesús Gorís, the architect of the Puchito label, didn’t think twice about it and recorded them right away.
Victrolas in bars and bodegas all over the island began to spread the son montuno macho of Las Estrellas de Chocolate.
But the 1960s in Cuba were too strong, diverse and creative, and the good work of Chocolate with its stars had to deal with a scene that was too competitive for a novel ensemble.
As often happens, it took several years for the Chocolate Stars to finally shine as stars and be on everyone’s lips.
“My New Tumbao Cañonazo”
Fania, although composed by Reinaldo Bolaños for Conjunto Estrellas de Chocolate, was recorded on the voice of Pedro Juan Rodríguez Ferrer “Pete” El Conde Rodríguez (Ponce, Puerto Rico, Jan. 31, 1933 – Dec. 2, 2000); who along with Pacheco’s group recorded the company’s first album entitled “Mi Nuevo Tumbao. Cañonazo”, with a majority of Cuban songs, like most of the albums recorded by Pacheco and many of those recorded by that label.
In 1964 Jhonny Pacheco and Jerry Massucci founded Fania Records and created the international and renowned Fania All Stars.
Pete was the first singer that Fania had, and on his shoulders was the responsibility of taking that project forward.
In the first Fania album Cañonazo (1964) Pete interpreted the theme Fania, composition of Reinaldo Bolanos and with which the band was inaugurated.
It is 1964 and the history of Latin music is about to change.
The Dominican flutist Johnny Pacheco, one of the most popular Latin artists in New York, has parked his flute, changed his orchestra and recorded an album, “Mi Nuevo Tumbao…Cañonazo”.
It’s a curious recording, although it doesn’t seem special.
It sounds like a somewhat modernized Sonora Matancera. But it has been released under a new label, Fania Records, which he has just founded in partnership with New York lawyer Jerry Masucci.
And what was only meant to be a start to relaunch and boost Pacheco’s career is out of the hands of both of them and becomes a phenomenon.
Fania All Stars
Additional information:
The name of one of the most important record labels in Latin America and the world All comes from a song by Cuban Reinaldo Bolaños called Fanía, which refers to a story about a woman whose name was Epifanía and her mentally challenged son.
The story goes that in the middle of a fight between the two, she threw flour (funche as it is called in the Caribbean) in her son’s face and he responded “Fania Funché”.
Bolaños liked the story very much, as did the founders of the record company Jerry Masuci and Jhonny Pacheco, who decided to name their music company after her and include the song in the first album produced.
With the passage of time, they stopped pronouncing the tilde on the “i” and started calling it Fania, without an accent.
Harry Fraticelli. Its birthplace was the city of Yauco, Puerto Rico
Its birthplace was the city of Yauco, Puerto Rico on July 6th. He is so proud of it that he proclaims it in every place he visits.
His older brothers distinguished themselves by playing stringed instruments. They would play threesome tunes to lull Harry to sleep during his childhood.
That’s how Harry’s love and inclination to the peculiar strings of the guitar grew.
He demonstrated his ability to play stringed instruments correctly at the age of 12, his brother tutored him in traditional Serenades.
He played the “Maracas” and was the First Voice of the Trio in those performances.
Harry along with his brother Julio Erving and Jose Luis (Cheli) Padilla moved to San Juan in 1962. They formed the Trio Los Altairos.
How many artists of that time debuted in the Tribuna del Arte Program of Don Rafael Quiñones Vidal. They won First Prize and Harry was recognized with a professional musician.
Thus he expanded his musical art. He learned to write musical arrangements, play bass and various string instruments. He stood out as the first voice in the trios. He cultivated and perfected his style with self-discipline.
He joined the pop ballad group Aidita Viles and Los Del Río with Máximo Torres in 1964. They presented their musical show at the Caribe Hilton Hotel for several years. They also performed in all the towns of Puerto Rico.
The maestro, Máximo Torres offered him the great opportunity to record as a soloist in 1969. Maximo created the band “Los Barbarians” and with them Harry recorded his first album with the title “El Mamito”. The song “El Mamito” included in that album was the one that made him famous and internationally recognized as a performer in the Salsa genre.
He then recorded the bolero “Te Pido Perdón” with great success. The song “Temeridad” became one of the public’s favorites very soon. Harry Fraticelli and Los Barbarians participated in recordings and performances with distinguished figures of Puerto Rican entertainment such as: Héctor Lavoe, Richie Ray, Bobby Cruz, Willie Colón, José Miguel Agrelot and Tito Rodríguez, among others.
Harry was the moderator of two radio programs in Yauco. He interviewed great figures of Puerto Rican entertainment such as the illustrious composer Don Pedro Flores, comedians José Miguel Agrelot and Adalberto Rodríguez “Machuchal”, among others.
The phrase “in recognition of being a Yaucano who through music has raised the name of the people who saw him born” have left in Harry a pleasant and unforgettable memory. The protocol acts were in February 2004.
The Virtuous Harry Fraticelli
He has participated in multitudinous artistic spectacles next to recognized figures of our show business: Cristian Castro, Chucho Avellanet, Danny Rivera, Ednita Nazario, Gilberto Santa Rosa, Julio Ángel, Lucecita Benítez, Manny Manuel, Máximo Torres y Los Murcianos, Papo Valle and his Trío Borinquen, Pijúan and Los Baby Boomer Boys, Tato Díaz and his Drim Tim Trío, Tavín Pumarejo, Trío Los de San Juan, among others.
He has displayed his musical talent in prestigious hotels such as the Caribe Hilton, Condado Plaza, Courtyard Marriott, Embassy Suites, Four Points By Sheraton, Holiday Inn, Intercontinental, La Concha, Marriott, Radisson, Ritz Carlton, Sheraton Convention Center, Travelodge, etc.
He participates as a professional singer in the group Los Baby Boomer Boys. He participated in the two recordings of the CDs: “Bohemia Bailable” 2010 and “Solo Pa’ Los Jóvenes de Corazón” 2014.
The outstanding salsa musician Joe Quijano invited him to join as a singer in 2011 for the musical production with unreleased songs by Tite Curet Alonso. He performed as a soloist the song “Te Amé”, in the salsa genre on the CD, “Lo Inédito de Tite Curet Alonso 50 Años Después”, in duet with Paquito Guzmán on “Nube Negra” and participated in the chorus.
He has performed as a soloist in fifteen (15) musical productions during his professional career, but has participated in countless recordings as a Guitarist, Requintist, First, Second and Third Voice.
As a trios music lover he offered his time for several years in the position of Secretary of the “Puerto Rico Trios Music Foundation”.
He participated in the program “Así Canta Puerto Rico”, with the prestigious producer Luis Vigoreaux, Son, transmitted by Channel 6 and in the United States by WAPA AMERICA. She was the First Guitar and Second Voice of the beloved artist Tavín Pumarejo during the last 20 years of Tavín’s artistic career. They played typical Puerto Rican music and boleros.
Harry was the Music Director on the musical project “El Gran Sentimiento de Fufi Santori” (Fufi Santori’s Greatest Feeling) which contains eleven (11) songs by Puerto Rican sports star, José “Fufi” Santori (RIP). The CD was released in May 2011.
Harry Fraticelli has made fifteen (15) musical productions as a soloist during his professional career
Harry was awarded by the Institute of Puerto Rican Culture with the Trio Musician of the Year Award in its 18th edition. The events took place at the Paseo de las Artes in Caguas in February 2013.
He produced his CD Harry Fraticelli y sus Amigos on 11/2013. He performs traditional tunes as a soloist, with his Trio and shared honors with the incomparable Tavín Pumarejo who agreed to come out of his self-retreat to participate. Harry and Tavín formed the “Dúo Poca-Jontas” which was very popular with their fans in Puerto Rico and the United States.
The Casa Museo de la Música Amaury Veray in Yauco included Harry in the Galería de Músicos Yaucanos on 10/2014. He is listed alongside such famous compueblanos in the art of music as Amaury Veray, Kike Lucca and Johnny Albino among others.
The song Son Pa’ Barrio Obrero and other of his hits continue to be heard in Colombia. The successful presentation of 3/2014 in Cali, Colombia revived in Harry the desire to return to his roots in “Salsa”.
That was why he decided to record a single with the starring participation of the talented Jerry Rivas on the Tres. The single includes the bolero rhythmic Flor Pálida and Puras Mentiras in the Salsa genre.
Harry Fraticelli was chosen among more than 500 international singers for the Maximum Image Award 2014-2015 in the category Voice International Impact of Venezuela in July 2015. He competed with prestigious singers such as Franco De Vita, Chayanne, Myriam Hernandez, Valeria Lynch, Ricardo Arjona, Samuel Hernandez, among others. He obtained an honorable second place with the highest vote obtained by a Puerto Rican until 2015.
Harry conducted for 2 years the program “Harry Fraticelli De Todo un Poco” in (Emisora Sol Latina de Buenos Aires) through the “Web” since 2015. His audience was over half a million people on the Internet.
It participated in the 60th Cali Fair in December 2017 on a spectacular stage. There he presented his concert in front of an audience of more than 10,000 people. Harry felt great emotion when he noticed the large audience and began to sing the song “Soñando con Puerto Rico”. He was accompanied by the BoleOro Orchestra conducted by Carlos Cordoba from Cali, Colombia.
Harry Fraticellis is the Music Director of Harry Fraticelli and his
He is the Musical Director of Harry Fraticelli and his Trio which he maintains simultaneously with his other artistic projects. They perform in hotels and in private activities.
He offers musical and cultural shows with varied options:
– Harry Fraticelli “One Band Man”
– Harry Fraticelli in Bohemia
– Harry Fraticelli to Duo
– Harry Fraticelli and his Trio
– Harry Fraticelli and his Combo
– Harry Fraticelli and his Conjunto de Música Típica
– Harry Fraticelli and The New Barbarians
He produces and hosts his weekly program Harry Fraticelli y sus Amigos on Radio WIPR Maxima 940 AM with interviews to personalities of our show, anecdotes and live songs with a large local and international audience since 2/2018.
Harry Fraticelli returns to the stage with his new CD that includes Salsa Gorda, Son Montuno and Boleros with the title Harry Fraticelli y Los Nuevos Barbarians.
He has the participation of Gilberto Santa Rosa, Jerry Rivas and Tony Rivas’ choirs and a select group of excellent musicians. He hopes to complete the production in 2020.
(The recording has been stopped due to the Covid Pandemic)
He returned to producing and conducting the Harry Fraticelli Show De Todo Un Poco y Más… on Thursdays at 8:00 P. M. Sol Latina Broadcast (www.emisorasollatina.com.ar) on 6/2020.
Although he remains isolated by COVID’s Pandemic regulations, as soon as conditions allowed he organized a Bohemia for Paquito Guzman during his convalescence. Together with Gilberto Santa Rosa, Jerry Rivas made the great bolero player Paquito Guzmán vibrate with emotion. (https://youtu.be/OnBN851O9DQ )
That day, Paquito Guzmán asked for another bohemian to be brought to him, but with the songs of his idol Cheíto González. He did the same and was pleased with the San Juan Trio (Luis Díaz, Tony Bermúdez and Harry Fraticelli). That day he enjoyed the improvement in his health and they managed to get Paquito Guzmán to join the trio on several occasions. (https://youtu.be/wXDgmdVWMI8 )
Harry has mastered the performance of ALL tropical genres, has the virtue of integrating with other singers and musicians without rehearsal. He is distinguished in the musical environment as a virtuoso in the Guitar, in the Requinto and in the Bass. In addition, he plays the Maracas perfectly.
Harry is multifaceted, a stanchion, has a high level of performance and is very professional. His artistic talents, his human quality in combination with his musical knowledge have earned him respect and high esteem locally and internationally.
He is also an exemplary citizen with an excellent reputation. He has kept his professional and personal life free of scandals or negative remarks.
Harry Fraticelli is grateful for the appreciation, support for his artistic career and positive feedback he receives through social networks and in his activities.
It has the participation of Gilberto Santa Rosa, Jerry Rivas and Tony Rivas’ choirs and a select group of excellent musicians. He hopes to complete the production in 2020
With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging
Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn where he was raised.
Between then and age 14 when he started to play trombone in Erasmus Hall High School, he tried clarinet and drums. Playing his first professional gig on trombone at 15, he added string bass, a common double in NYC at that time.
Mark learned to play Latin bass from Salsa bandleader Larry Harlow. He experimented playing trombone with Harlow’s band and three years later, along with Barry Rogers, formed Eddie Palmieri’s first trombone section, changing the sound of salsa forever.
With his heart in jazz, Weinstein was a major contributor to the development of the salsa trombone playing and arranging. He extended jazz attitudes and techniques in his playing with salsa bands.
His arrangements broadened the harmonic base of salsa while introducing folkloric elements for authenticity and depth.
Mark Weinstein Flutist, composer and arranger
The only horn in a Latin jazz quintet led by Larry Harlow in the jam session band at the Schenks Paramount Hotel in the Catskills
The only horn in a Latin jazz quintet led by Larry Harlow at the jam session band at Schenks Paramount Hotel in the Catskills, soloist and arranger with Charlie Palmieri in the first trumpet and trombone salsa band in NYC, arranger and featured soloist along with the great Cuban trumpet player Alfredo Chocolate Armenteros in Orchestra Harlow, and with the Panamanian giant Victer Paz in the La Playa Sextet, and with the Alegre All Stars, Mark’s playing and arranging was a major influence on Salsa trombone and brass writing in the 60s and 70s.
Mark Weinstein continued to record with Eddie Palmieri, with Cal Tjader and with Tito Puente. He toured with Herbie Mann for years, played with Maynard Ferguson, and the big bands of Joe Henderson, Clark Terry, Jones and Lewis, Lionel Hampton, Duke Pearson and Kenny Dorham. In 1967 he wrote and recorded the Afro-Cuban jazz album, Cuban Roots for the legendary salsa producer Al Santiago.
It revolutionized Latin jazz; combining authentic folkloric drum ensembles with harmonically complex extended jazz solos and arrangements. Chick Corea was on piano and the rhythm section included the finest and most knowledgeable Latin drummers: Julito Collazo, Tommy Lopez Sr. and Papaito (timbalero with La Sonora Matancera).
El único cuerno en un quinteto de jazz latino liderado por Larry Harlow en la banda de jam session del Hotel Schenks Paramount en los Catskills, solista y arreglista con Charlie Palmieri en la primera banda de salsa de trompeta y trombón en NYC, arreglista y solista junto con el gran trompetista cubano Alfredo Chocolate Armenteros en Orchestra Harlow, y con el gigante panameño Victer Paz en el Sexteto de la Playa, y con los Alegre All Stars, el hecho de que Mark tocara y arreglara fue una gran influencia en la escritura del trombón de salsa y los metales en los años 60 y 70.
Mark Weinstein continuó grabando con Eddie Palmieri, con Cal Tjader y con Tito Puente. Hizo giras con Herbie Mann durante años, tocó con Maynard Ferguson y con las grandes bandas de Joe Henderson, Clark Terry, Jones y Lewis, Lionel Hampton, Duke Pearson y Kenny Dorham. En 1967 escribió y grabó el álbum de jazz afrocubano Cuban Roots para el legendario productor de salsa Al Santiago.
Revolucionó el jazz latino, combinando auténticos conjuntos de tambores folclóricos con solos y arreglos de jazz extendido armónicamente complejos.
Chick Corea tocaba el piano y la sección rítmica incluía a los mejores y más conocedores bateristas latinos: Julito Collazo, Tommy López Sr. y Papaito (timbalero de la Sonora Matancera).
A principios de los 70 Mark se tomó un tiempo libre de la música para obtener un doctorado en filosofía con una especialización en lógica matemática.
Se convirtió en un profesor universitario y sigue siéndolo hasta el día de hoy. Cuando regresó a la escena musical en 1978 tocando la flauta, escribió produjo y grabó las Suites de los Orishas con la cantante Olympia Alfara, el gran pianista de jazz colombiano Eddy Martínez y los percusionistas Steve Berrios, Julito Collazo, Papaito y Papiro junto con un coro afrocubano. Inédito hasta hace poco, la música de las Suites de los Orishas se convirtió en el tema del Sunday Salsa Show de Roger Dawson en WRVR.
Mark Weinstein volvió al jazz con una venganza, trabajando en conciertos y grabando más de una docena de CDs desde 1997.
Seasoning, su primer CD de flauta experimentó con diferentes escenarios para la flauta, incluyendo un cuarteto con el vibrafonista Bryan Carrott y Cecil Brooks III en la batería y un trío de flauta y dos guitarras con Vic Juris y Rob Reich.
En 1998, Mark grabó Jazz World Trios con el maestro guitarrista brasileño Romero Lubambo y el premiado percusionista Cyro Baptista.
Su exploración de temas brasileños con guitarra clásica y percusión contrastaba con un trío de freebop con Santi Debriano en el bajo y Cindy Blackman en la batería.
Jean Paul Bourelly y Milton Cardone completaron el conjunto con música basada en temas de santería.
El lanzamiento de Three Deuces en 2000, emparejó a Mark con los guitarristas Vic Juris, Ed Cherry y Paul Meyers.
With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging – Mark Weinstein
Because of limited distribution and more demand that albums available, Mark rerecorded the material from the original Cuban Roots with new arrangements and the help of such giants of Cuban music as pianist Omar Sosa, percussionists Francisco Aquabella, Lazaro Galarraga, John Santos, Jose De Leon, and Nengue Hernandez. It was co-produced with his nephew, trombonist, violinist and arranger Dan Weinstein for Michael McFadin and CuBop Records.
In 2002 Mark had the incredible opportunity to go to Kiev, Ukraine, where his father was born, to record the music of the Ukrainian composer Alexey Kharchenko. Milling Time, the record that they made, stretched his playing in a number of directions, from modern classical music to smooth jazz to Ukrainian folk music.
He continued his exploration of his roots with a jazz album of Jewish music with Mike Richmond on bass, Brad Shepik on guitar and Jamey Haddad on drums and percussion.
He then turned to Brazil and the music of Hermeto Pascoal’s Calendario do Som, entitled Tudo de Bom with guitarist and vocalist Richard Boukas, Nilson Matta on bass, Paulo Braga on drums and Vanderlei Pereira on percussion.
In 2005 he began his ongoing association with Jazzheads record recording another version of Cuban Roots called Algo Más, with Jean Paul Bourelly playing electric guitar, Santi Debriano on bass, Thelonious Monk award winning percussionist and vocalist Pedrito Martinez, as well as Nani Santiago, Gene Golden and Skip Burney on congas and batá drums.
His next release on Jazzheads was O Nosso Amor with Brazilian jazz masters Romero Lubambo, Nilson Matta and Paulo Braga along with percussionists Guilherme Franco and Jorge Silva.
Mark Weinstein He became a university professor and continues to be one to this day
This was followed by Con Alma, a Latin Jazz album featuring Mark Levine on piano, Santi Debriano on bass, Pedrito Martinez playing conga and drummer Mauricio Hererra.
Next a straight-ahead album, Straight No Chaser, with guitarist Dave Stryker, bassist Ron Howard and Victor Lewis on drums. A return to Brazilian music, Lua e Sol, saw Romero Lubambo and Nilson Mata joined by award winning percussionist Cyro Baptista
Mark Weinstein took time out from Jazzheads to record an album for Otá records in Berlin with Grammy nominated pianist Omar Sosa playing vibes, marimbas and piano along with Ali Keita on balafon, Mathais Ogbukoa and Aho Luc Nicaise on African percussion, bassist Stanislou Michalou and Marque Gilmore on drums. Back to Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, joined by Roman Diaz with the young giants Axel Laugart on piano and bassist Panagiotis Andreou. This was followed by Jazz Brasil with NEH Jazzmaster Kenny Barron on piano along with Nilson Matta and drummer Marcello Pellitteri.
His most recent album, El Cumbanchero was recorded with a string ensemble and arranged by Cuban piano virtuoso Aruán Ortiz, along with Yunior Terry on bass and percussionists Mauricio Herrera and Yusnier Bustamante.
Next up is an album of tangos with GRAMMY and Latin GRAMMY nominee, bassist Pablo Aslan, and featuring Latin GRAMMY winner Raul Jaurena playing the bandoneon, pianist Abel Rongatoni and guitarist Francisco Navarro. And many more surprises to come.
Back at Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, along with Roman Diaz with young giants Axel Laugart on piano and bassist Panagiotis Andreou
