Search Results for: Salsa Orchestra

Veruska Verdú woman full of Barloventeña roots currently doing artistic work in Peru

On January 26, 1993 was born in the city of Caracas Venezuela, Cristina Veruska Verdú Mendoza, a woman full of Barloventeña roots.

Currently doing artistic work in Peru,

Veruska Verdú woman full of Barloventeñas

Premiering the songs “ME CANSE DE TI, LA NEGRITA, Y PASITO A PASITO” This is the first advance of “Caminando”, solo album that the Venezuelan artist plans to release this year and which will include songs of her authorship.

Third finalist of “LA VOZ PERU” season 2022, a program of great artistic relevance, where for the first time in the program a participant arrives as a foreign singer to the final.

Singer in Tonny Succar’s orchestra in Peru with Mimy Succar.

Special participation in the video clip, QUIMBARA of the producer Tonny Succar.

Participates hand in hand with the great musician and international producer Tito Manrique creator of the Salsa criolla, nominated to the Latin Grammy and winner of VIÑA DEL MAR. Participating in a solo track on his album Abriendo Caminos with the song and video of the song Taita Bilongo (Peruvian salsa/afro fusion).

From the production of Puerto Rican composer Eduardo Zayas and his project ¨EZ la Banda¨ sings with another legend of salsa singer Rafy Andino singer of the MULENZE Orchestra the song ¨Sabor y Sandunga¨, also recorded a song with Luchito Muños “Dos puntos de vista”.

Veruska fue invitada especial en dos temas de la producción llamada “Huerta de Soneros” con el tema ¨Yo soy la Rumba¨ y otro junto al legendario cantante Johnny Vega (cantante de Cortijo y su Combo) ¨Nació para cantar¨, igual del compositor Eduardo Zayas.

Veruska Verdú, a woman full of Barloventeño roots, is currently doing artistic work in Peru.

Also invited to the production of producer Gerson Zayas, performing the song “Cuando deje de amarte”.

Works with producer and pianist Kike Purizaga, Mario Cuba, singer Carlos Mosquera, with Juan Medrano “Cotito” known as the voice of the cajo of Peru and many more.

Along with producer Alberto Crespo and Daniel Espinoza, recording choirs for the film of Ricardo Rey and Bobby Cruz with Rodrigo Mendoza and Wilmer Lozano.

She is invited to work with international musician Alfredo Naranjo in his project “El Guageo” with singer Edgar Dolor Quijada.

Later they work together with the great Venezuelan musician Nene Quintero in the “Be Jazz Sessions” project also winner of the Pepsi Awards 2019 which sold out all their concerts during the framework of its activities which had international reach.

She sings as a special guest with the classic Sonero del Caribe.

She shares the stage as a duo with Rodrigo Mendoza, singer of Dimensión Latina and of great worldwide trajectory.

She is part of the project “Salsa Master” with the participation of Edgar dolor Quijada, Marcial Isturiz, Rodrigo Mendoza and percussionist Cheo Navarro.

Veruzska was also a special guest in the orchestra “RUMBEROS DEL CALLEJON” of Carlos Padron in which she participates in its production along with the staff of artists such as Wilmer Lozano, Rodrigo Mendoza, Gonzalo Diaz, Memo Arroyave, and international artists such as Tito Nieves, Gilberto Santa Rosa, Maelo Ruiz and Domingo Quiñonez.

He began his musical career when he was only eight years old in the Afro-Venezuelan genre (traditional Venezuelan Afro music). Where he participated in various festivals being in first place in each of them.

Later he joined the ranks of the prestigious “Orquesta Latino Caribeña” of the orchestra system which is directed at that time by the great maestro Alberto Vergara, orchestra with great projection and impact in the country (Venezuela), participating in major festivals in countries like the United States and Colombia captivating the public with his voice.

Pasito a Pasito · Veruska Verdú

All the power of her voice, the flavor and the feeling.

Songs from the album that she is recently finishing the recording of

La Negrita

Pasito a Pasito

Me Canse de ti

It is a great joy for me to share this event with you. My dear friend Veruska Verdu does not stop growing and now she is going all out with the help of Takina Records to make a Celia Cruz Tribute in style.
By: Alberto Valles Salazar.

Also Read: Virginia Ramirez is the artist of the XXI century, the Princess of Piano and Voice, the hope that will save the new generations of anti-music

The Cuban pianist Chucho Váldes launched his new album “Jazz Batá 2”

East Coast – New York – New Jersey

Chucho Váldes. This virtuous pianist, composer and arranger brings to the music market the sequel of his album Jazz Batá after four decades

Musicians: Chucho Valdés (Piano), Yelsy Heredia (Double Bass) – Dreiser Durruthy (Voice and Superaron Batá) & Yaroldy Abreu Robles (Congas & Percussion) – and Guest artist: Regina Carter (Violin).

After (Forty Six) 46 years, Chucho Valdés returns to the musical arena with Jazz Batá 2, an album that once again shows the creativity of this imposing Cuban music artist.

Jazz Batá 2 of the Latin Jazz genre contains eight tracks recorded in two and a half days in the John Lee´s studio in New Jersey. This ten-handed CD is the mix of classical music from West Africa impregnated in the piano solos with the Jazz Batá (sacred drums, with the hourglass shape of the Yoruba religion in Cuba), Violin, Bass and Percussion that give a sound with personality, rhythmic and lyrical at the same time.

The band in small format for this record production has four supporting musicians: Yaroldy Abreu Robles, Dreiser Durruthy Bombalé, Yelsy Heredia and Regina Carter. The first three belong to the Guantánamo region and they have deep roots in the Cuban musical culture, in addition to having studied at the conservatory.

Likewise and it should also be noted that Chucho Valdés, influential star of the contemporary Afro-Cuban Jazz, established this experimental format to three instruments (Piano, Bass and Batá) for the first time in 1972 with his album Jazz Batá.

The Jazz Batá 2‘s first single, “100 Años de Bebo”, is an unpublished melody whose composition was by Bebo and it’s a tribute to his centenary. This Danzón-Mambo is played by Regina Carter with an introduction and a “Tumbao” final, added by Chucho Valdés.

The tracks: “Obatalá”, “Oshun” and “El Güije” are themes inspired by the Yoruba religion of Cuba (Santería). Oshun is a Haitian merengue with the incursion of the violin, while El Güije is based on a rhythm created by the percussionist Dreiser Durruthy, and he presents it by speaking the sacred language, derived from the Afro-Cuban religion known as “palo”.

“Son XXI” from this new studio album, is a song by the deceased Cuban composer, Enrique Ubieta, who played with rhythmic clusters of Jazz. The first time that Chucho Valdés interpreted this theme was in the Musical Theater of Havana at the beginning of the 60s.

“Luces” is the first Bolero that incorporates Congas and Batá, as well as the harmonies of increased chords. And the single seven: “Chucho Valdés humor” is a “Descarga”, built on a rhythmic three notes (G, B, and C). According to the Valdés’ Words, “It’s like a twister”.

Finally, the eighth track: “El Payaso” is a piano solo, dedicated to Maurice Ravel. This melody was composed by Chucho Valdés when he was a member of the Cuban Orchestra of Modern Music (Founder in 1967). “… I’m a bit avant-garde, I play Batá on the Piano …”, said Chucho Valdés .

With this record production, Chucho Valdés marks a new milestone in his career, a beginning with the record label: Mack Avenue Records, and a significant chapter of his past.

TRACKS:
Obatalá	5. El humor de chucho
Son XXI	6. 100 Años de Bebo
Luces	7. El Güije
Oshun	8. El payaso

Release: November 16^th 2018

Label Record: Mack Avenue Records

Available NOW to download in the entire world!

For more information, please visit:

Web Site: https://www.valdeschucho.com/

Or Follow him for his Social Channel: https://www.facebook.com/valdes.chucho

For more information visit this social medias:

Facebook: https://www.facebook.com/valdes.chucho/?locale=es_LA

Instagram: @chuchovaldesmusic

X (Twitter): https://x.com/chuchovaldes?lang=en&mx=2

Spotify: https://open.spotify.com/artist/27mRThsZ9K1BYmz0rioxwp

Jimmy Bosch. The Creole Trombone of New York.

Norteamerica / USA / Nueva York

Jimmy Bosch was born on October 18, 1959 to a Puerto Rican family in the city of Hoboken in the state of New Jersey.

At the elementary school of his hometown, at the age of eleven Jimmy Bosch was offered a trombone which would give the starting point in his career. According to him, that metallic, valveless, long instrument (which was taller than him) was not necessarily what a child dreamed of; Perhaps, at that time, children dreamed of traveling to the moon, or with an electric guitar that would make them look like The Beatles or, failing that, the Rolling Stones. It didn’t take long for that 11-year-old boy to transform this instrument into an expression of his already visible creativity.

At the age of 13, the talented Jimmy was rehearsing with local bands and making his first foray onto the public stage a year or two later. His determination, the Latin blood that ran through his veins and the taste for the genre that had captivated him on so many occasions, led him to play with the most recognized band in the city: Manny Oquendo & Conjunto Libre. His dexterity and ingenuity in playing “moñas” (a section of trombone solos that enrich the melody) helped him to work with them since 1978, which is why it was alongside the Mythical Free Ensemble that Jimmy experienced the freedom to express himself musically with the trombone

On March 11, 1996, Jimmy Bosch debuted with his band at the internationally known S.O.B.’s nightclub. The result was immediate: Publications in the most prestigious newspapers in the Big Apple such as the “New York Times”, praising his excellence and a house full of loyal fans began to crown the dream of this tropical music worker. In this way he becomes a remarkably respected musician and an icon of Latin culture in New York.

His compositions reflect the creativity and depth of who Jimmy Bosch is. He takes his audience on a journey from Bronx-style “funk” to “hot” guajiras, melodious cha-cha-chás, and clearly poetic lyrics awash with feeling. Thus, Jimmy pays tribute to the other teachers who share their presentations generating remembrance and posterity in each one of them.

In 1998, under the Ryko Latino label, his first solo album, “Soneando trombone”, was released. Jimmy included a “Big Band” with renowned Latin virtuoso artists, such as trumpeter Alfredo “Chocolate” Armenteros, bassist Andy González, and singers like Jimmy Sabater and Pete “El Conde” Rodríguez. They played a mix of Latin styles, including “hard sauce,” of which Bosch is one of its greatest exponents. Bosch not only played a virtuoso trombone, but was also the musical director on that recording.

With his recording debut as a solo artist, Bosch scored a definite success on the international scene. In Europe critics welcomed his musical creations. And in the United States, newspapers such as the Los Angeles Times and The New York Times were full of praise for their brilliant performances.

At the beginning of 1999, the popular musician returns to the charts with a new production: “Salsa dura“. In this production, including musicians like Steve Turre and Chucho Valdés, it was as diverse, strong, and tough as his first production. The recording also included songs like I’m Still Changing. For the release of “Salsa dura” the Creole trombonist traveled to Europe and performed on countless stages of the Old Continent.

Persevering in his creativity, in 2004 Bosch received new applause in Puerto Rico, presenting his musical proposal at jazz festivals. His bows have accompanied such important figures in the salsa industry around the planet as the aforementioned Free Ensemble of Manny Oquendo and Andy González, Eddie Palmieri, Ray Barretto, Rubén Blades, India, the Lebron Brothers, La Combinación Perfecta, Cachao, Spanish Harlem Orchestra and Celia Cruz among others. He was the musical director of the outstanding Puerto Rican performer Marc Anthony.

The late creator of the Mambo, Israel “Cachao” López, composed for him the song “Lluvia, viento y caña”. The legendary trombone solo can be heard on the Grammy-winning recording, “Master Sessions Vol. 1” produced by Emilio Estefan and Andy García.

This talented musician stamps his signature with his particular way of playing the trombone, becoming his personal stamp in the music industry. Today, Jimmy Bosch is famous for his explosive solos, full of melody, vibration and funk.

Known by many as “El Trombón Criollo” for the strength of his improvisations, Jimmy radiates his energy to any musical challenge. Jimmy brings us El airplane de la salsa, his latest production, surrounded by high-voltage musicians and soneros.

Eric Maldonado from La Paris All-Stars’ work behind the scenes

Latin music, more specifically salsa, has had several initiatives over time that have managed to keep it alive and relevant in the popular taste and one of them is undoubtedly La Paris All-Stars Orchestra, which is a musical group based on old school salsa, but with current technological advances.

The orchestra was created by the producer and sound engineer of Puerto Rican descent Eric Maldonado, with whom we have been able to talk about the group and his own career, so our dear readers can not miss this reading, as it will be very interesting.

Eric from La Paris in his studio — Producer and sound engineer Eric Maldonado in his studio Paris Recording Studios

How Eric enters the world of music

Eric begins his story by saying that he was the youngest of the family and both his father and brothers were always playing instruments, so his first contact with music occurred when he was practically a baby. He says that there were always relatives at home every weekend who came together to play jibaro music, salsa, merengue, cha cha cha or whatever they could think of that day.

These family roots have encouraged to have a deeper interest in music, to the extent that he began to see it as a serious profession and not just a hobby.

Eric and sound engineering

By the time he turned 20 in the 1990s, Eric started playing bass in a band for a while, until he tried his hand as a soundman in the local band in New Jersey and realized that this was what he was truly passionate about. It did not take long for him to realize that being a musician was not his thing, but being behind the console and running the machinery behind the stage was. That is when he started purchasing the equipment he knew he would need and learning more about this part of sound engineering.

Eric defines himself as someone who does not really like to stand out too much or feel really observed by those attending a show, so he prefers to help all he can on the organizational part and at the level of engineering in the events that he is involved. He affirms that his thing is choosing the talent and creating all the music that the musicians or singers are going to use, while he stays behind the stage taking take that everything forges ahead.

He described feeling satisfied working in this way and has no problem with the artists taking most of the credit in front of the audience.

The Paris All-Stars Orchestra

It is important to note that, before founding the orchestra, Eric already had a recording studio called Paris Recording Studios. What inspired him to create a band was an event he did at a club in Florida shortly after moving to that city. The producer already knew some musicians thanks to his work and proposed them to form an orchestra that would take its name from the studio and be called La Paris All-Stars. ”That night, there were so many people who came to see us play that the place was packed and many of them were unable to get in. That’s when I knew this was going to be a success and the creation of the group was a good idea” said Eric about this first test concert.

Upon seeing how successful this first concert with the group was, Eric decided to record a complete album which he named ”Los Escogidos” since it would only include the best singers that he would choose for this record production.

He also wanted to clarify that he is the owner of both the studio and the orchestra and both go hand in hand in everything he does.

Eric from La Paris with Erben — Marc Anthony’s bassist Erben Pérez with Eric Maldonado

The Paris All-Stars Orchestra: old-school salsa with today’s tools

When we asked Eric if he agreed with those digital media that defined La Paris All-Stars Orchestra as an initiative linking old school with today’s tools, he answered absolutely.

Noticing that reggaeton and bachata no longer dominate the international market like they once did, Eric took advantage of the fact that there are many new artists wanting to experiment with salsa to make them his clients and work with them from any country such as Mexico, Cuba, Colombia, Venezuela, among others.

Although he added that he does not limit himself to any genre and works with a bit of everything, he assures that the music he loves the most is and always will be salsa. He regrets that broadcasters do not give a lot of exposure to salsa as before, but also highlights the support the exponents of the genre have received from media and digital stations that have been given a space to new salseros in different parts of the world.

Eric’s references for the Paris All-Stars Orchestra

When listening to any of the orchestra’s songs, there is no denying that its work is inspired by several of the biggest referents of salsa and one of them is Ismael Miranda, who was one of the members of the album ”Los Escogidos”, sharing the credits with Kevin Ceballos, Anthony Colón, Frankie Ruíz Jr., among others.

Eric called the previous artists, who already had an important name in the industry, in order to attract new singers to join his projects and, in this way, make them known to the public. The producer assures that he likes to help new talents and considers them a fundamental part in the promotion and the new rise of salsa today.

”I am very happy several of these new singers who worked with me have already been blazing their own trail and some of them are even doing big concerts, which makes me very pleased”, he said.

Eric from La Paris with Jesus — Eric Maldonado with New York salsa singer Jesus Pagan, with whom has worked recently

Latest works of La Paris All-Stars Orchestra

The first single from La Paris All-Stars in the year 2024 was ”Son Mentiras”, which, according to Eric, was to be part of ”Los Escogidos” at the beginning, but after recording so many good songs and finding so many talented vocalists, he decided to rethink his initial plan and only released it as a single. The final version of ”Los Elegidos” is scheduled to be released in June this year on all digital platforms after finishing a track still missing from the record production.

We also could not put aside the group’s new release ”Yo soy La Rumba”, which is part of ”Los Escogidos Volumen 4” and features one of the more promising salsa singer currently, Kevin Gabriel, a young talent who was born in Puerto Rico and has managed to participate in several renowned ensembles and orchestras thanks to his great voice.

One day, Eric heard Kevin Gabriel singing by sheer chance and became fascinated with the young man, but he knew that the label with which he had signed was not exploiting his full potential, so he proposed him to join his project and he accepted. Together with him, Eric released ”Yo Soy La Rumba” and soon there will be an entire solo album of the young singer. This boy is a clear example of what Eric seeks to promote with his work and has no doubt that there will be many more like him, whom the sound engineer will be more than happy to support.

Willie Rosario, El Rey del ritmo by journalist and music researcher Robert Téllez M.

Puerto Rico Date Be more by Bella Martínez writes announces the release in Puerto Rico of the second edition of the authorized biography of Míster Afinque, Willie Rosario, El Rey del ritmo by music journalist and researcher Robert Téllez M.

This second edition, which has been revised, expanded and updated, has 62 more pages, every time master Willie Rosario has remained active since the publication of the first edition in 2019 to date. It also contains photographs that were not included in the first edition, images from Willie Rosario’s own archive and from the archive of the most important salsa collector, Robert Padilla.

The book, which has a preface signed by musician “Bobby” Valentín and a foreword by researcher José Arteaga, also compiles significant accounts from composers, musicians, instrumentalists, arrangers and vocalists who have been part of Rosario’s orchestra throughout different periods.

The new cover photo is by photojournalist Conrado Pastrano, the cover design is by graphic artist Felix Disla and the illustrations are by artist Frank Rosado.

The content of the back cover of the first edition, which includes the praises of Edwin Clemente, Edwin Morales, Elmer González, Hiram Guadalupe Pérez and Néstor Galán, was moved to the inside of the text, adding the recently captured praise in the voice of Ricardo Padilla, programming director of Salsoul radio station.

The back cover text is by the prodigious arranger, composer and music producer, who was exalted to the Hall of Fame of the U.S. East Coast and who, like Willie Rosario, is a timbalero and orchestra leader: Tito Rodríguez, Jr. Tito tells us about “El Inolvidable’s” friendship with Willie Rosario, as well as the way in which Mister Afinque received from Tito Rodríguez the first songs that Rosario would record with his orchestra, including the classic ‘Changó ta vení’ (composition by “Justi” Barreto), arranged by René Hernández. He also shares with us the closeness between Willie Rosario and Tito Rodríguez since they were neighbors in the Bronx, NY until they became colleagues and developed a friendship based on companionship and mutual admiration. In a nostalgic way, he highlights the golden years of El Palladium. As if all this were not enough, Tito candidly offers his opinion on Willie’s contribution to the salsa sound, which he reinvented by adding the baritone saxophone to his orchestral format, which at the time was thought to be an experiment, and on the permanence of that contribution within Latin music.

The publication of this second edition of Willie Rosario, El Rey del Ritmo comes just in time to add to the centennial celebration of the musical leader, who has managed to keep his orchestra active and alive for more than six decades. The book is now available in physical format and can be purchased through Amazon.

Book cover Willie Rosario Second Edition

About the author:

The author, Robert Téllez M, is a music journalist, broadcaster and audiovisual media producer. He is a member of the Círculo de Periodistas de Bogotá (CPB) and since 1998 he has worked as a programmer for different music radio stations. For nine years he directed and hosted the program Conversando La Salsa on Radio Nacional de Colombia. He was also founder and general director of Revista Sonfonía. Robert Téllez M stands out as a researcher dedicated to Afro-Antillean music. His in-depth research has led him to serve as a consultant and lecturer, specializing in the appreciation of salsa music.

Published books:

* Ray Barretto, Fuerza Gigante (2016).

* Willie Rosario, el Rey del ritmo [Authorized Biography] (2019, 2024).

* Ray Barretto, Giant Force (2021), the translation by Ronald Vazquez of Ray Barretto, Fuerza Gigante, is the silver medal winning literary work for best Spanish to English translation at the International Latino Book Awards, 2021 edition.

Also Read: Metamorphosis: from music to photojournalism, a reinvention without limits