Search Results for: Salsa Orchestra

Víctor Gabriel Rosario Durán

Latin America / San Juan / Puerto Rico

Many singers have passed through time in the world of music, this time we have the privilege of making our followers known to “Víctor Gabriel Rosario Durán“

Victor Gabriel "Mi Problema" — Victor Gabriel “Mi Problema”

Victor Gabriel Rosario Duran is a great singer and percussionist who was born in San Juan, Puerto Rico on June 27, who showed from a very young age a great interest in tropical genre music since he played drums with his father, who in turn was a percussionist, even with the passing of the years Víctor Gabriel with his sister imitated the Duet “Pimpinela”, making a waste of talents at family parties and at school, so his parents, seeing their son’s talent, decide to enroll him in the Ernesto Ramos Antonini free music school, entering through the percussion department.

During his studies at the music school, he took advantage of his free time to practice “singing” in the square and one day he caught the attention of one of the members of the Latin Revolution orchestra, being at that time of the school salsa orchestra, he was called to audition and was chosen as a singer.

By joining the orchestra they managed to win first places in the “Talent Shows” that they participated in and out of school; and over the years he creates his own orchestra where he manages to win first place as “Best Talent” in the school talent contest, as well as in many other “Talent Shows”. Then he went from percussionist to the singing curriculum to perfect his technique as a singer and from 1994 he joined the group “Caribe Tropical” of Mr. Jorge

At 21, he is part of the orchestra led by maestro Elías Lopés, where he recorded as the duo Gaby and Nelson. From the mid-1990s to the present day, Víctor Gabriel has been a singer, chorus girl and percussionist for local groups in Puerto Rico that make their presentations at the main hotels on the island, such as the Marriot Hotel, the now-defunct Hotel Cerro Mar de Dorado and Hotel San Juan, among others. He also continued his collaborations as a singer, backing vocalist and minor percussionist in Plena Libre, Tres Son Salsa, Zacandela, Atabal, the Orquesta La Offer. Don Perignon, and others.

Víctor Gabriel Rosario Duran participated for nine years as one of the main singers of the VSP Orchestra (Villariny Salsa Project), who performed in 2012 on the “National Salsa Day”, where he has had a great musical exposure enriching his extensive race; which has prepared him for what has been the dream of his life, his solo career. For the month of June 2019, Víctor Gabriel launches as a soloist with his first single “Mi Problema”, Salsa Version, which has been a resounding success on different stations worldwide.

Home Media Tour in Mexico and Colombia in its Caribbean Region visiting cities such as Barranquilla, Cartagena, Santa Marta, in the first one he appeared before a large audience LIVE in an activity called “HEROES IN COLOMBIA”, organized by the Military Police in the Battalion paradise, alternating with Chelito de Castro and Poncho Zuleta and which was covered by “EMISORA TROPICANA”.

He was also invited to participate in the “RANCHO CURRAMBERO INTERNACIONAL” in an event called “LA SALSA CONTINUES”, alongside great Colombian musicians such as Ray Palacio, Charlie Gómez, Nelson Fontalvo and Su Tribu Band among others. In less than four months, Víctor Gabriel was the winner with his song “Mi Problema” at the “Paoli Awards”, in the category “Salsa Revelation Artist 2019.”

On November 16, 2019, Víctor Gabriel Rosario Duran won the “Paoli Award”, “Salsa Revelation” in Orlando Florida.

Victor Gabriel Rosario Duran photo in concert

On February 14, he released his song “ASI ES EL AMOR” authored by master John Dávila, on all digital platforms and is taking possession of the different hit parades of stations in the world. Right now he is recording what will be his complete record work alongside prominent artists and musicians from Puerto Rico, such as Jay Lugo, the most important arranger on the island at the moment and who recently won “Grammy” awards with different artists, Omar Lugo and Luis Omar salseros of the new blood of salsa, John Pito Dávila, trombonist and director of different orchestras such as Puerto Rico Power, The John Dávila Orchestra and his Koketones de la Salsa, Viti Ruiz among others.

“What we are sure of is that Víctor Gabriel Rosario Duran, singer and percussionist, is a Boricua who makes his way safely into the Salsa of the new generation.”

Phil Robinson: An artist with a brilliant career and a positive outlook on the future.

North America - USA - California - Los Angeles

Phil Robinson, Sonero, composer, performer and leader of his own orchestra.

His charisma and his entrepreneurial, creative and positive attitude make everyone who has the opportunity to talk with him enter his world, his love for music, and his passion for improving, learning and being better every day. Phil Robinson has loved art from a young age.

The artistic influences that he had from his mother and his aunts, directed him to a gratifying world full of unforgettable experiences. A complete artist, with many stories to tell and whom it is definitely worth learning from.

Phil Robinson with Producer and Director Salim Samouh

Born in the Bronx, New York, to Dominican and Puerto Rican parents, he grew up and had his first approaches to music in the Dominican Republic, surrounded by close family members who sang, recited poetry, and performed. When he was just 5 years old, he listened and was inspired by the Spanish singer, Joselito, considered a child prodigy for the time.

With the passing of the years, and as a teenager, he returned to the Bronx that saw him born, just in the days of Fania. He admits that at that time his voice was not yet fully developed, but thanks to his sister he was always in contact and learning about Latin music, especially Salsa.

“I had a lot of interesting exhibitions. At the time when I returned from the Dominican Republic, I lived for a long time in the South Bronx, where I was born. And I had the opportunities to see all those artists like Larry Harlow and Ismael Miranda (who worked together), Héctor Lavoe, Willie Colón… And I looked at these Latino artists and said to my sister: One day I am going to be on that stage! ”

Beginnings full of learning

By the 1960s and 1970s, Latin music was booming in the United States. In addition to radio, orchestras had become mainstream and performed in American venues. All of this was very enriching and motivating for a young Phil Robinson.

The Orquesta Yaré of southern New Jersey was the first group in which Phil Robinson had the opportunity to participate, develop his voice and work to improve his native talent. With this participation, it was time to explore more, focus on the music, and let it all flow down to the path Phil wanted to lead.

“Music is an art. It is a profession that takes a lot of sacrifice, which requires being very consistent, and never letting yourself be carried away by negative thoughts that you are not going to achieve it, but rather thinking that God knows what He does and how far He wants to take you ”

The Orquesta Yaré was a dream of a young man who, like Phil, wanted to succeed in the world of Latin music. Founded and directed by Leroy Gutiérrez (conguero, timbalero and bongo player) with original themes; and his brothers Johnny (bongosero) and Loui (trumpeter).

At that time, Leroy was a percussionist, but he also learned to play the piano by himself, without having a teacher. Gutiérrez invited Phil to participate, to make him a star. Yaré was an orchestra of 12 musicians, all the music was original.

“Our first performance was in 1973, on San Juan Day, at a celebration of el Día de Puerto Rico, in Vineland, New Jersey. I began to develop my voice, I did not have so much control over it, nor did I know how far it could go; but I had the enthusiasm that I was seeing something that I had been dreaming about for a long time, and it was coming true. ”

They played at Landis Park in Vineland, NJ. That night Larry Harlow and Néstor Sánchez has invited, and Orquesta Yaré accompanied them. It was a dream to be able to play alongside artists he admired. After years of that presentation happened, Phil Robinson reunited in Los Angeles with Néstor Sánchez and was able to share a photograph of that first presentation.

It’s fascinating how Phil recounts all these unforgettable experiences:

“…They had taken me a photo with him, and I had that photo here for years. Someone invited me to a show where he was going to be here in Los Angeles, and I grabbed my photo and took it for the meeting. That day he signed me the photo of more than twenty years ago… and he did remember me! ”

Everything that has happened in all these years since that first presentation in 1973, have been experiences to remember for a lifetime, and have given him the push to keep going.

“No one has to instill in me what it is to be in music, because that is already in me, it is in my blood, it is in my feet. No one has to ask me to continue in the music ”

Those encounters with certain characters who already had names, who was famous; and he found himself next to them, was enough to keep Phil’s energy high forever, continuing with the work to make dreams come true, and trying to be as original as possible.

Each experience has allowed him to gain knowledge of how music works. Times have changed and it is no longer so necessary to have a “sponsor” who invests in you and helps you finance an album, or who promotes you. You can do it yourself.

The key to reinvention

Although he confesses that it’s not something that he has planned, every day Phil thanks God for a new awakening and in his mind there is always that spark of imagining what he can do to take that daily opportunity to improve himself and always be active.

When referring to the current situation, generated by the Covid-19 pandemic, he thinks that the inconvenience that has affected everyone the most, especially for be unexpected, is the possibility of working freely.

But he remains positive towards the future, thinking that everything will pass. Applaud the initiatives of his colleagues in Los Angeles, where he currently lives, to use social media to sing their original songs and keep in touch so that people stay aware of what they are doing.

Regarding his activity on social networks, Phil tells us:

“For my part, I have not prepared to make that kind of approach to social media. But sometimes I put my songs on, or send a positive message to the salsa community, to my friends, to my colleagues, to people who like my music. And I stay present, not daily, because people forget about you when they don’t see you, but when they hear a lot about you, the magic goes away … I like that people don’t get so tired of seeing you or hearing your name, but suddenly you show up and people realize that you are in contact. “

Don’t be sad, very soon you can expect a couple of performances by Phil Robinson on his social media, with the tracks of his original music, to keep in touch and accompany him at this moment in which it is so important to stay at home.

The charismatic artist thinks that what is happening now is going to completely change the normality to which we are accustomed. Although he does not know what the end result will be, because everything is very uncertain, he knows that the salsa community is looking forward to the moment of returning to the clubs, and reflects on the need to be 100% sure of maintaining our safety and individual care. , and that of those around us.

For now, all that we don’t know about the new virus affects many professions, including that of singers, artists and musicians who live by being in contact with the public and constantly exposed. Still, Phil trusts God and thinks that this is part of a natural evolution like other situations that humanity has faced before, and the key is to adapt and have patience, because, luckily, we have technologies and tools available that in other times did not exist.

“Here in Los Angeles there is a lot of talent, there is a lot of preparation with many musicians, and even if you are not on a stage, you can create. We can use technology to do certain things that we don’t normally do because we are on stage all the time and people are physically seeing us. This has evolved technology much more, because we are all turning to social media to keep in touch and continue sending the message, so that this message does not die”

Affirm with total conviction that there is nothing impossible in life, the important thing is to take your time and plan to carry it out. Consistency has kept him focused on his goals under the premise that while an artist knows who he is and on what feet he stands, the only thing that will happen is that he will evolve and improve.

Plans with your Sonora Pa’ Gozá’

The group has had several names, the first name emerged when Phil arrived to Los Angeles in the late 80’s. He had always wanted the freedom to sing what he wanted; something that he felt completely comfortable with, identified with, and made easy for him. Under this premise, and after everything learned, Manhattan West emerges (alluding to the place where Phil grew up), a small group with two trumpets, a saxophone, full percussion, piano and bass. When he was not busy with his commitments to other orchestras, he dedicated time to his personal project and in which he chose the music he wanted to sing.

Phil and Orquesta Papo Rodriguez y La Sorpresa

While evolving, he became the leader of Henry Mora and the All Star Salsa Orchestra of Los Angeles, collaborating with many of the local groups, from there he became the lead vocal for Eric Matos and La Caliente Orchestra, Papo Rodríguez and La Sorpresa, and recorded two original songs composed by the title of Nelson Montalvo Fantasía and Mi Regalo included on his 2005 CD, Oye Salsa Sabor y Clave.

During the time that Phil was with Papo Rodríguez, the Panamanian singer Camilo Azuquita arrived in the city and La Sorpresa became Azuquita y su Melao, Phil became Azuquitas for several years, performing in many places known as the Hollywood Palladium and with many renowned artists. Thanks to these collaborations, Robinson finished polishing his style.

“Much of the style that I have, my way of perform, how I sing, how I dance, everything, we can say that I caught it from him. Azuquita has a very special swing… He is a dynamic singer, even at his age… ”

Some time later, Manhattan West became Sonora Borinqueña, and finally obtained the name with which we know it today: Sonora Pa’ Gozá’.

With this name the essence of what Phil transmits with each presentation is maintained:

“Many people could not, or had difficulty pronouncing Borinqueña… so I said, wow, nobody is going to remember us!… Then there was Sonora Pa’ Gozá’ … I always have that energy … because I not only sing, I also like dancing, I like interacting with the public, I get off the stage. I consider myself very dynamic. ”

Between Two Worlds

Phil Robinson considers his most recent production Between Two Worlds, a master recording, because the songs that were chosen for that CD are not all tropical, but not entirely Americanized either. The arrangements are Big Band, songs like No me platiques más or Esto es Coco, were made in Big Band.

This project took seven years to complete, some of the songs were meticulously selected by Arturo Solar Fernández, who produced the project with compositions by Ted Koehler and Harold Arlen, Homero and Virgilio Expósito, Enrique Benítez, Vicente Garrido Calderón, Armando Manzanero, Jesús Alejandro (El Niño) and of course, Phil Robinson.

February 2020 on location filming the short movie Darling Boy

Robinson also had the opportunity to venture into the cinema and include two of his original songs (Soy Rumbero, from his CD Salsa Sabor y Clave; and Loco a tu lado, from his latest production Between Two Worlds), in the cast of a short movie titled Darling Boy, by Syrian producer and director Salim Samouh.

Future plans

In the not too distant future, Phil Robinson hopes to compile all his recorded songs with other orchestras, the solo songs (both in English and Spanish); and others in which he ventures into rhythms such as Bossanova (Night and Day). There are also other American songs that Phil wants to record with more danceable adaptations and with his original touch.

It will also resume the organization of the Puerto Rican Festival in Los Angeles, whose twenty-fifth anniversary will be celebrated next year, after being postponed by the Covid-19 pandemic. We will see Robinson and his Sonora Pa’ Gozá’ at this festival, accompanied by Puerto Rican artists, orchestras from Los Angeles, San Francisco and from all around the world.

Many presentations are coming, Phil Robinson will tell us as soon as the new dates are confirmed so that they can enjoy, dance … and gozá’!

Valuing what is really important

When asking Phil Robinson what he would say to those young people who are just beginning and who have a desire to achieve their dreams, he answered:

“My advice is to believe in yourself, take the examples of those who have experience, respect our genre … The salsa genre is very positive, but many people mistreat it too … Being original is important, developing your own style, being accessible with people, be professional from the beginning. Having in your mind that you are a professional, no matter what level you are on, is going to take you to the top, because that’s clear. Choose the music that identifies you as an individual, don’t imitate, be consistent and keep in mind that there are going to be sacrifices… you are going to fall, and you are going to get up. ”

Many, like Phil Robinson, have natural talents, but his advice is that you also have to polish yourself, learn from those who have succeeded, and find out who you are as an artist. Fight, improve and give your best at all times, in all places and no matter how much they are paying you. If a commitment is made, do it. People will value you for what you do.

Of all the accomplishments throughout his career, Phil Robinson believes that what makes him most proud are all his career years. The reception and recognition of the public that knows him and knows how long he has been in music; who continue to support him, who respect him. From musicians to the people who go to see him when he performs. All this is very valuable for him.

Cuban Singer Franco, Phil Robinson and Actress Lupe Ontioveros at the Conga Room

“… And the steps that I have been climb, and that I am still climbing, because this does not end. And also the opportunities to be, even briefly, with those who have already gone beyond what I have done … I am totally proud of what I have done, where I am … and I continue in the fight . Anything can happen. Always looking positively into the future.”

Phil Robinson is a quiet man, he has a beautiful family that is his most precious treasure, a beautiful family that supports him, accompanies him, and cares for him all the time.

His family is the most important thing, because will come a day when he will decide to retire from the stage, and although he does not expect it to be soon, one day he will do and his family will always be there to continue adding beautiful experiences together.

Phil Robinson thinks he’s been lucky. Today he continues working to improve himself, grow, and learn something new every day, because it is never too late.

“As long as there is skill and desire, I will continue in the same: making music, and being the most original. That is the only thing that separates you from the rest, because we try to honor our music, but it is always important to keep a percentage that says: Ok, this is Phil Robinson. All of this continues to be a dream that will never end. This will end the day that I close my eyes forever, and it will be so. ”

Edwin “El Calvito” Reyes

Edwin El Calvito Reyes, Winner of the Paoli Prize 2019, as Tropical Revelation of the Year

Undoubtedly, today, considered by legends and colleagues of the salsa genre, as one of the fastest growing exponents, projecting and establishing its brand, at a firm pace and worldwide; Winner of the Paoli Prize 2019, as Tropical Revelation of the Year, he is Edwin “El Calvito Reyes”.

Born on April 19, 1974, he had his childhood in a humble 20-foot-square wooden house and graduated as an Electrician from the Higher Vocational School in his beloved Trujillo Alto in May 1992.

He then graduated with studies in Tele-Communication at the University of the Sacred Heart of P.R. This 2020, “El Calvito” is scheduled to finish his Master of Science, with a major in Entertainment Business, at Full Sail University in Orlando, FL. (Entertainment Business, Master of Science).

Although in OCT 2018, it was his first appearance in the world, with his own musical proposal, “El Calvito” has a career and / or musical history, of more than 25 years, which began to the tune of Plena in his native Trujillo Alto.

Since childhood, music has been his passion. Edwin continued to show his leadership and passion for music, and already in 1993, Edwin began to make himself known in his hometown with PLENA, keeping the culture and tradition of a people alive. As early as 1996,

Edwin joined the US Army and, in his spare time, began singing salsa, thanks to Mr. Víctor París and Mr. Godreau “Papo Salsa” who offered him the first opportunity to share his talent with the community of Hinesville, Ga in 1996, singing salsa classics.

Since then, “El Calvito” has been performing all genres of Latin music in the United States; Never leaving behind its origin, nor its vision.

“El Calvito” Reyes has several many LIVE SALSA performances in South Korea and the Middle East (Iraq, Afghanistan, Kuwait, Turkey), with more than 10 thousand soldiers (combined count) dancing to the rhythm of live music, relieving all types of stress in combat and highly raising their morale. A genuine leader, who brings that same leadership to the sauce in a very entertaining way.

Over time, thanks to Sergeant Alberto Sánchez and Sub-Officer Carlos Negrón, he joined the Official Salsa Orchestra in the U.S. Army (LATINO CONJUNTO DEL ARMY DE USA), to later become the officer in charge of it.

An Officer who, for 6 consecutive years, was personally tasked with selecting and forming the Only Latin Music Orchestra, ever assembled, in the US Army, whose purpose was to act for dignitaries and personalities (Michelle Obama, Hillary Clinton, Jennifer López, Olga Tañón, Vicente Fox, etc.), within the National Conventions of the League of United Latin American Citizens (LULAC) and Annual Presidential Galas. Clearly leaving an immense legacy in that difficult world. Also, El Trujillano is one of the few salseros in the world that has been able to perform live at the Seoul Olympic Stadium in South Korea.

Immediately after that performance, “El Calvito” performed in 2012, at the Asian Salsa Congress, where dancers from around the world gathered to compete along the rhythms of their music in the course of an extravaganza of 7 days.

He is an artist without equal. After 22 years of active military service, including more than 65 months accumulated in combat, “El Calvito” Reyes has established his own brand, appearing before a large number of people throughout the American country and Puerto Rico. “El Calvito” is a true warrior and avant-garde in this new era of salseros that will surely keep them dancing from start to finish.

Don’t wait for the magic call. He seeks his own, very professional, and has earned the respect of many employers, DJs and Promoters around the world, for his kindness, professionalism and above all his show.

In this past March 2020, “El Calvito” was one of the guests of honor for one of the Bailables prior to the National Day of Zalsa in Puerto Rico, sharing the stage with greats such as NG2, N’Klabe, Carlos Javier, and Abrante, as well as, Julio Badillo and the Salsa Stars, Julio López, Kayvan Vega and many more, making their music shine by its own light and gain the respect and admiration of several present, the international press and their colleagues.

Also, Edwin is part of the first star cast to perform at the FIRST NATIONAL DAY OF LA ZALSA in ORLANDO, FL, alongside stars like Willie Rosario, Eddie Palmierie, India, Jerry Rivera, Grupo Niche and many more “El Calvito” does not stop here, as he has also been chosen to be a fundamental part of the 22nd Anniversary of the Salsa Cruise, along with stars such as Maelo Ruiz, Luisito Carrion, Andy Montañez, Grupo Gale, Grupo Niche and Chino Núñez.

Publicly blessed by Legends such as TITO NIEVES, TITO ROJAS, TITO ALLEN, BOBBY CRUZ, CHINO NÚÑEZ, LALO RODRIGUEZ, WILLIE ROSARIO, PAQUITO ACOSTA LUIS GONZALEZ “EL TSUNAMI”, among others, confirms Edwin “El Calvito” Reyes, as a S Today, at the level you deserve.

Since it came out live on OCT 2018, “el Calvito” has not stopped shining in its own light. Now, he celebrates the worldwide successes of his latest songs, “QUIERO BAILAR CON ELLA”, “TOCALE LA MOÑA”, “MI RITMO SE LLAMA” ZALSA “,” MI TIERRA QUERIDA ”SONEROS DE SANGRE NUEVA, and the most recent SO CALLED THE COUNT.

So what’s next for Edwin “El Calvito” Reyes? “Work hard, with honesty, respect and dignity, in favor of the genre of salsa, in general. Stay humble, loyal to my followers and, of course, continue with my faith in God.

Edwin “El Calvito” Reyes The music of our Hispanic brother and Boricua, Edwin “El Calvito” Reyes is found on all digital platforms (CD Baby, iTunes, Spotify, Amazon, Google Music, YouTube Music, etc.) His music continues to occupy prestigious positions on Global Radio.

Edwin “El Calvito” Reyes has a high reputation, as a truly dedicated human being, passionate about contributing to the salsa genre, who studies and respects the genre’s pioneers and their contemporaries.

With an energy on stage that will make you dance from start to finish. Also, as a person who provides a great environment with his leadership and professionalism, with Latin Music for his communities, but above all, as a family man; and of faith.

You always can count with friends

Latin America / Puerto Rico

I want to congratulate Gilberto Santa Rosa for a great job done with his first Virtual concert “Canta Mundo” to inaugurate the Coca-Cola Music Hall in El Distrito, located near the Puerto Rico Convention Center, in Miramar.

Gilberto offered a magnificent a virtual live concert with his band of Puerto Rican musicians. This is the first time, since the emergency began in Puerto Rico due to the pandemic created by COVID-19, that this modern room was activated to present a live concert recorded live, especially for Rums of Puerto Rico, and that they have chosen such an extraordinary artist for the inauguration was without a doubt a great success.

After much expectation, the Coca Cola Music Hall had its opening in a totally different way than imagined, with a concert that did not have the presence of the public or applause between songs, due to the limitations imposed by the COVID pandemic- 19. Gilberto Santa Rosa was entrusted to offer the first recital in the space. Both the singer and his musicians took all possible security measures to prevent the spread of the disease, but obviously, without the use of masks that would prevent them from playing their instruments or singing.

The concert “Canta Mundo” continues online so that the millions of Gilberto fans throughout the world become intimate audiences in their favorite spaces, you will surely enjoy it. The event was exclusively presented by Rums of Puerto Rico, and can be seen through the social networks of Gilberto Santa Rosa, as well as those of Coca-Cola Music Hall and Rums of Puerto Rico.

Gilberto Santa Rosa and Johnny Cruz - friends — Gilberto Santa Rosa and Johnny Cruz

I send a warm greeting to my good friend Jerry Rivas, singer of “El Gran Combo de Puerto Rico” since April 19, 1977, who now shares hits and music with his son Gerardo Rivas. In 1977 Andy Montañez, the lead vocal of the Gran Combo de Puerto Rico, announced his departure from the orchestra. Many saw the group debacle coming. When everyone expected to see an experienced singer, the always-wise director Rafael Ithier found a young singer to suit his group’s style.

The chosen one was a young man of just 21 years: Jerry Rivas. A shy Jerry Rivas presented himself with a cassette recorded with the music of the first groups that he joined for a short time, the musicians of the Gran Combo, looked at him suspiciously. Ithier, with his traditional good humor, contained his musicians with these words: “you rest easy, it is a black painted white”.

On April 19, 1977, Jerry began singing with El Gran Combo de Puerto Rico. Jerry Rivas’ first performance was “Buscando Ambiente” at El Club Caborrojeño de Guaynabo and his first international success was “La Clave y el Bongó”. Rivas, self-taught and who in addition to singing plays guitar, cuatro and cuban tres guitar, remembers that as a young man he was a rocker, but he was struck by the joy that the members of the Gran Combo projected in their dances and choreography.

In his long career with El Gran Combo, Jerry Rivas, has become a renowned sonero and one of the oldest members of the Universidad de la Salsa, has recorded 30 albums with the group and many of the greats were recorded in his voice. hits from the orchestra, such as “Y No Hago Más Na”, “El Menú”, “Azuquita pa’l Café”, “Que me lo Den en Vida”, “Ojitos Chinos”, “Me Liberé”, among many others. The Gran Combo was the key to success for Jerry, who thanks Quique Lucca, founder of Sonora Ponceña, for his recommendation that Ithier give him the opportunity to audition. His talent was passed on to his sons, who became Los Rockolos as children.

Gilberto Santa Rosa Concert Without Public

Today, Gerardo begins his solo career, and Jerry Junior together with Samuel conducts the Los Rivas Orchestra organized more than a decade ago. Gerardo always affirms that no matter how many differences they may have, music unites them. He revealed on some occasion that his father did not want him to dedicate his life to popular music due to the strong and unstable environment, the risks and swings of the artistic world.

However, when Jerry looks at them during rehearsals and on stage, he is proud and always advises them to be responsible, avoid the negative and assimilate the positive. Recently, the vocalist of El Gran Combo joined with his son, also singer Gerardo Rivas, and his grandson Gerardo Gabriel to carry a musical message to his followers in the midst of the coronavirus pandemic (Covid-19).

The trio came together to perform a classic by the legendary salsa orchestra, Mente Positiva. “In difficult times, the best we can do is carry a positive message,” wrote Gerardo, also a member of NG2, in his social media. Rivas father was in charge of the Cuban tres guitar, Gerardo Gabriel of the key and the maracas and Rivas son interpreted the theme. It is not the first time that they have joined this quarantine to delight their followers with a musical number.

I applaud the initiative of Pedro Oggie García as CEO of Salsa Artist Booking Entertainment Group (SAB), who with his daily work supports all the salseros in the world at SalsaArtistBooking.com. SAB is the company specialized in the digital coding of music, administration, promotion and representation of Artists of the Salsa genre, With an experience of more than 30 years in the media and with relationships worldwide, always characterized by our responsibility, seriousness and compliance.

Using their experience, international relations and positioning, they will make your musical work a success. Always taking care of their interests and rights, trying to take the artists and their music where their public requires it. Contact them +1 956-442-0099

I would like to share with you my admiration for José Mangual Jr. “El Campanero Mayor”, who is an American percussionist, of Puerto Rican origin, son of also percussionist José Mangual Sr. He was born in New York on January 11, 1948 and has a trajectory of almost half a century in Salsa.

His contribution to this genre began in the mid-sixties in his native city, when he joined the group of Monguito Santamaría, son of the great percussionist Ramón “Mongo” Santamaría. He also played with La Conspiración. He was part of Tony Pabón’s band, which marked the beginning of his role as a singer. On the LP “La protesta”, recorded in 1972 for the Rico Records label, José Mangual Jr. sang the song “San Miguel”.

In 1971 he joined the Willie Colón band, and since the singer was Héctor Lavoe, José participated in the best and biggest albums recorded by that great duo. Mangual Jr. also recorded with Rubén Blades on some of the most representative albums in the Panamanian singer’s musical career. His talent has allowed him to be making simultaneous recordings with other groups, musicians and singers, such as Ismael Miranda, Mon Rivera, Frankie Dante, Ismael Quintana, Celia Cruz and the Willard Orchestra, conducted by Willie Pastrana.

In 1977 he launched as a soloist, recording with his own group the album titled Tribute To Chano Pozo, and so far, he has around twenty of his own albums. These are added to almost thirty recordings with Willie Colón, Rubén Blades and Héctor Lavoe. But they are only part of the huge list of his recordings with other orchestras, musicians and singers. His meritorious career has allowed him to travel to many countries of the world alongside countless great musicians and singers, and become an example of dedication and love for music.

This has also allowed him to make friends around the world who admire, love, respect; and be with him in important moments, triumphs, defeats and also in goodbyes … José Mangual Jr. lost his grandson Tyrell Bryant a few weeks ago to the covid-19. I extend my heartfelt words of condolence for such an irreparable loss, and reiterate my unconditional support for the entire family at this difficult time. You are not alone! I dedicate special tribute to his grandson Tyrell Bryant who always be present in our hearts. RIP 04/04/1992 – 04/18/2020.

My friends, I need you know that we continue working hand in hand with prominent artists from New York and Puerto Rico on the CD dedicated to maestro Adalberto Santiago on his 60th Anniversary. I promise to have more details about this fantastic musical production very soon.

I appreciate the support of Carl Cristiano, L&S Custom Tailors and cKc for my TV Show outfits and my public performances. Tailored suits with total care and confidence. Contact them, I recommend them with pleasure. www.LSTailors.com. Address: 138 E 61st Street Suite 201. New York, NY 10065. Phone: +1 212 752 16 38.

Don’t forget tune in to my new Fm / Internet radio station on Live365.com: Salsagallery. Great music, artist interviews and much more made with love for you all. There is the link: https://live365.com/station/a77973

Although yet It will not be possible to open to the public the Spanish Harlem Salsa Gallery in 1708 Lexington ave New York N.Y. 10029, you can see the entire exhibition with more than 200 articles through our social media. Check the updates in our website: spahasalsagallery.com.

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New York City is slowly returning to normal. We hope to be sharing with you physically again, but now we follow the instructions of the authorities to keep us safe and healthy.

Contact: Johnny Cruz. 917-747-8505. [email protected].

By Johnny Cruz, ISM Correspondent, New York, New York City

Fidel Antillano “The greatest satisfaction of a musician is to finish a quality product and see the acceptance of the public”

Latin America/ Venezuela / Caracas

Salsa is an expression of life within the caraqueño and Latin American neighborhoods. This fusion of rhythms has known how to slip in and no one escapes its magic and enchantment. Such is the case of pianist, composer and arranger Fidel Gregorio Antillano, born in the city of Caracas on June 10, 1962 and raised in one of the city’s sound districts, Los Frailes de Catia, where he lived surrounded by salsa groups, street performers, carnival and Christmas parties, enjoying the golden age of the salsa boom.

Fidel Antillano - Photo — Fidel Antillano – Photo

This genre influenced his destiny and allowed him to make it his way of life. Salsa is a cultural condiment with the flavor of many countries, which has managed to transcend borders.

Almost always at home the musical vein is lit. Was this your case?

“There was influence from my relatives, in my house there was always music, it was like a big jukebox, La Billos, Los Antaños del Stadium, la Sonora Matancera, Barbarito Diez, Casino de la Playa, among others, my grandmother lived in El Retiro, in La Pastora, she had a piano, when I went to visit her with my dad, I sat at the piano and I liked what I felt, music was part of my family, my dad was a great music lover, he bought all kinds of records, classical music, Creole music, tango”.

Did your grandmother or your father play the piano?

“No, my grandmother Gregoria “Tata” -we called her that because of our affection-, she was an amateur but she did not play it, she had it as a reference, she played cuatro, my uncle also played cuatro and guitar, my father did not play anything, he bought many Lps, given the house we had -the piano was a kind of furniture that embellished and gave cache to the house-“.

Family photo of Fidel Antillano's uncles Isaías, Pablo and his grandmother Tata — Family photo of Fidel Antillano’s uncles Isaías, Pablo and his grandmother Tata

“My older brother -on my father’s side- he did have some knowledge, he was the most educated, in that house there were harps, cuatro, maracas, records, my family on my father’s side were very fond of music, from our musical family tree we have four musicians -Julito Antillano, Denis Antillano, José “Kikin” Fernández and me”.

What anecdotes or memories do you have of the piano?

“At the time of the construction of La Cota Mil, my grandmother’s piano was taken to my father’s house, at that time I began to kill a fever, I was about 10 years old, it was the time of the gazebos to choose the queens of the neighborhoods, the Sexteto Juventud was in fashion with its theme Caramel and Chocolate; at Christmas and Carnival we did not peel a rehearsal of the groups that lived in Catia”.

That would be the first impulse to awaken the gift within

“Yes, that was my first impulse, I inherited that musical vein from my grandmother and my father, they were close to salsa and folk musicians, besides, my father and my uncle bought a lot of Long Play (elepé), I started working with my

brother in a shoe store and started buying records.

Fidel, I understand that you are a self-taught musician. How was that learning process and deciding that the piano would be the instrument to play?

“Yes, I am a self-taught musician, back in the 70s we used to hear Nico Monterola’s Orquesta Renovación, La Banda y Su Salsa Joven on the radio. To my surprise, we used to meet with those musicians and we used to go and hang around their rehearsals, this had a big impact on me, there were many shows, it was a coming and going of groups of the moment”.

When I was 18 or 19 years old, seeing Salsa Mayor, Pacheco, Carlos “El Grande”, all those great musicians, I made the decision to learn to play an instrument, I looked for a teacher or someone who would teach me to play the piano -Salsa was underestimated and that’s why they thought it shouldn’t be studied”.

He got a teacher

“No, because of what I’ve told you, salsa was seen with bad eyes, the scholars did not see it as music would be, look, at that time I was exchanging the Lp with my friends, in one of those exchanges a friend lent me the album “Musical Conquest” by Sonora Ponceña, when I heard the song ‘Ñañara’ I fell and the entrance of the piano played by Papo Luca, that simple montuno, I was hooked – I said; this will be my thing!

That was the leap you’re hoping for

“Yes, that was the big jump, I went uphill because I didn’t know what a chord was, I didn’t know anything, I mounted 4 songs with simple chords, taking the first steps I fell in love, then I joined people with more knowledge”.

“As there was no one to teach me, I saw books, I had chords of the songs and I was guided by a music theory book, I learned to decipher the codes, music is a code, I read the Swing Latino magazine -from my friend Angel Mendez-, without stepping on a school, I was fed up; one must know about harmony, contra punto, I bought the Berklee harmony book and many more, -I rubbed shoulders with other musicians -some records came as a clinic, all this was feeding me”.

He was his own teacher and a very disciplined student

“I was my own teacher and I took on a discipline because that’s what I wanted, if you went to an institution where they gave music lessons and you said you wanted to play salsa, the musician was fined or thrown out, they were treated in a derogatory way”.

It was worth the effort, from being an empirical musician to playing with the best orchestras.

“I started with Grupo Fósforo, back in 81, we only wanted to play, it was a sextet, Mr. Manuel Ibarra passed me the notes and I didn’t know much about playing, then Jesús “Mandinga” Torres, took me to see different groups, That’s when I decided to introduce brass into the sextet and it became an orchestra, -all the arrangements were done by me-, I had any number of records and many songs from those Lp were not played or played by other orchestras -Gran Combo, Sonora Ponceña, among others-“.

He is a collector

“Not a collector as such, but I do like it, not with the eagerness that any collector has to obtain all the production, as La Sonora Ponceña says, but I have my Lp”.

What happened with the group Fósforo?

“It dissolved because they each started playing for different orchestras.”

And then the Grupo Fósforo

“Mandinga tells me that Carlos “Tabaco” Quintana needs a pianist, I clarify to him that I do not know how to read the scores, that he gives me the papers that I have the album, I began to listen to the album and I saw the papers, with that I completed the study, and I was increasing the experience, I recorded in the production of Tabaco and his Group Futuro”.

“Then with Dimas and his Orchestra Alegria, it was the first album I recorded professionally in the year 85, through those works I was doing with Dimas, I know Mauricio Silva, I felt afraid because Mauricio already had experience, he was the producer of Dimas’ album, but everything flowed, on the way I know many other professionals”.

“In the year 87 Roberto Blades came to Venezuela to the famous events Consul, Alberto Vergara recommended me Manuel Guerra and we made several tours by some regions of the country, then Julito – my nephew – told me that Naty Martinez needed a pianist”.

How was your time with Naty’s orchestra and your separation?

“Thanks to the album I made with Dimas, many doors opened for me, he believed in me and I will always be grateful for that. Through this album, Naty hired me, he already had references from me, and I recorded 4 of his productions with him -Naty, El Legendario, returned, In Dos tiempos and Proyecto Maelo-, with Naty I made my debut at the Poliedro de Caracas, I met Ray Barreto and the pianist Ricky González -he passed me some tricks-, we also went to Colombia and alternated with Grupo Niche and Joe Arroyo, a great growth and learning”.

“I left the Orchestra with a good relationship with Naty, so much so that he called me later to record in the productions, En dos Tiempos and Proyecto Maelo”.

It was a very fast growth

“Yes, I’ve even recorded jingles, I was with the Orquesta Café de Caricuao, I was with Erick Franchesky in the production where he pays tribute to Billos”.

From Salsa orchestras to working with one of the greatest exponents of Caribbean popular music, maestro Porfi Jimenez

“At the time that erotic salsa was introduced, I started to play with Porfi, merengue and snail soup were in fashion, all that music was in great demand, it was a boom, weekly there were 3 or 4 dances, this dragged a great group of followers, with it I go to Tenerife to some carnivals, I have great respect and admiration for the master”.

His time with the group of Porfi opened the doors to work with the group “Los Roques” of Tenerife

“Of course, however, I had left my resume there and one day they called me and told me that they were going to send me the ticket, I was with them for about 7 months, I played in the carnivals of Tenerife, it was something apotheosis, dances and dances did not let me come – laughs – they played merengue, I was blessed to visit Africa”.

All this accumulation of experience allows him to decide to create his own orchestra

“When Porfi was in the merengue boom, however, most of us musicians were salsa musicians, and because of that need to play our rhythm I decided to create my orchestra, but before doing the Combo Antillano we had an orchestra called La Gran Fuga, the singer was Edgar dolor, we killed fever with that orchestra and eventually I played with Naty and Porfi, because of so much activity I played with my orchestra on the days I had free, it was a good time for the groups”.

What happened with La Gran Fuga?

“We made it to occupy the days we had free with Porfi’s orchestra, at that time it had suffered a drop in the number of performances, but when it came back up, we didn’t have time or space to play, – well – it didn’t really dissolve, in fact they always give us caps to reassemble”.

From being the musician of the Orchestra Dé, to being the owner of El Combo Antillano and taking responsibility for a team

“A great responsibility and commitment, but it was time to do the same, we opened the compas playing music from the Gran Combo of Puerto Rico, that was the end, we played the greatest hits of the moment, no other band did, on Tuesdays that was full of people in the different places where we worked, this served as a bridge and accompanied other artists, Andy Montañez and other groups, this made me think about making original songs to record.

What was your first composition?

“The “Afro-Caribbean Music Festival” took place at the New Circus in Caracas, with 30 orchestras participating. Lil Rodríguez asked the orchestras to play original songs, and my first composition was a tribute to Caracas”.

At that moment they take a prize as the most applauded group of the night

“Yes, that was impressive, with Leah’s song, a Mongo Santamaría song, it was something new for the moment, an instrumental discharge”.

Tell us about your record productions

“My first production is called Háblame de Melao (2010), in most of the songs I do the lyrics and arrangements, was something new, the black Mendoza puts me to record and tells me to do theme by theme, we made 21 track, but in the album only put 19, this production was made to recognize the singers, Dimas Pedroza, Teo Hernandez, Angel Flores, Larry Tovar, Luis del Valle “Don Wicho”, Rodrigo Mendoza, Eloy Rios, a tribute to them and highlight our people.

“The second, Fidel and the descarga de los Frailes (2013), here we handle the Salsa, Latin Jazz, Danzón, has a lot of instrumental music before starting the rumba, I had the desire to work and create with a sense of belonging, I made an innovation in the melody with the electric guitar and flute, I did not want to continue recording on wet”.

“and, Caracas en su Salsa (2018), is a tribute to the Salsa of Caracas, in this production we have 14 songs”.

Through this production you made a documentary with the same name, which begins with a beautiful phrase of Cabrujas “Caracas Suena. The city was made to be heard, not to be seen”. How would your interpretation of this hidden city be?

“There is a city that cannot be seen, but it is there, and although the media does not show it to us, we can notice it, through, for example, the musical groups that exist in our neighborhoods and that become visible when there are events, like the one organized by Héctor Castillo (+) in 1983, where we could realize that there was a whole cultural movement hidden in each of our neighborhoods”.

“So I urge this type of inter-neighborhood events, which allow the visibility of the hidden Caracas.

Another of his passions is composition. At what point does the muse come to him?

“At first sight I fell in love -laughs-, -Bella Cubana-, to compose you must have a little bit of each thing, love, dislike, joy, sadness, they are not always experiences of the composer, sometimes if, in the variety is the taste, in my case I work with the rhythmic part and I put lyrics, and more than muse is a mixture”.

He makes songs with meaning that captivate the audience

“You like your audience to identify with your songs, the lyrics are thought-provoking.”

Does the song I don’t want to live in the dark have to do with any experience?

“That one was written by Carlos Navarro and I arranged it for him, it was a personal experience of his. I was in a treatment centre and he talked to me about it, I decided to do the arrangement”.

In the music industry we have many issues of strip and shrinkage, is the case of Domina tu lengua

“Sometimes people think that a song can be a strip and shrink, because of the content of the lyrics, in this case it is not, this was written by the Cuban producer Luis Llamo”.

What gives you the most pleasure as a musician?

“Finishing the product with quality and seeing the acceptance of the public, when you are in the studio and you realize that it looks better, then it sounds on the radio, seeing that the public sings it, dances it, that’s priceless, that’s the greatest satisfaction”.

Which of your productions has given you the most satisfaction?

“Tell me about Melao.”

Why?

“There is a great variety of rhythms in it, I had the opportunity and the satisfaction of exchanging with a large number of people from outside, in it is the theme Pa’ Barlovento, in it exported what is ours, our native rhythm, Venezuelan Sangueo, the Culo e’ Puya, the San Millán”.

What have been your musical influences?

“I wouldn’t be a musician if it wasn’t for Papo Lucas, trying to emulate what he did, as a musician, arranger and person, I admire him a lot, from here comes my influence, -in what time he learned everything he knows-, that makes him incredible, apart from the master Tony Monserrat, an independence with his left hand, he was a virtuoso”.

Many begin by imitating a style, versioning lyrics from other groups. What do you think of the copies, has creativity been lost?

“It’s a resource that is used, at a certain moment, it’s a hook, I barely had the opportunity to do my work, one must have the ability to discern where to play each song, maybe many are afraid of not liking it, or not being accepted”.

What do you think this fear is about?

“Perhaps not to be broadcast on the radio stations.”

He believes that more support is needed from the various media

“Yes, the lack of support sometimes makes one fear, it’s worrying to touch on a subject and the track gets empty.”

That’s when the artist turns to the hated payola

“I don’t agree with the payola, but it is a necessary evil, all the work that an orchestra owner does generates expenses, and after making an investment you need a retribution; previously live performances were a springboard, they projected a lot to the groups, that has declined a lot”.

What has happened to the Bolero in productions, you don’t listen to them anymore?

“The record companies are more determined to sell, that’s why I think they stopped recording, the new generation should identify with that rhythm, there are many beautiful boleros and if they stop recording they might be forgotten”.

Fidel, what new projects are on the way?

“Right now I’m recording with Angel Flores -record pocket- the song is called Callejon 107, is dedicated to the experiences of Latin American neighborhoods, is a son montuno very tasty, lyrics by Flores and with arrangements by this server”.

At this time when humanity is going through a hard test for its survival, what message would you leave behind?

“There is advice to live a life attached to good habits, one must live under these guidelines, the book of proverbs is wisdom… The man who walks in integrity walks confidently”.

By Eling Blanco, ISM Jounalist Correspondents, Caracas, Venezuela