Search Results for: Salsa music

Dance Papi

North America / USA / New York

Dance Papi is the best place on the web to learn Salsa, Cuban salsa, Conga drums and Hand percussion online for free. You could find all their Dance and Music Video Lessons http://dancepapi.com/about/

Ariel Ceja Founder

Ariel Ceja founded Dance Papi after becoming frustrated by the lack of online dance resources. Dance Papi aims to fill this void by becoming the best place on the web to learn social dances and Latin percussion by featuring instructive videos.

Prior to launching Dance Papi, Ariel studied film at Occidental College, worked as general manager for Ceja Vineyards and opened Bistro Sabor, a small eatery in Napa that served contemporary expressions of Latin America’s favorite street food and snacks.

He currently attempts to go out social dancing two to three times per week, is obsessed with the band Punch Brothers and sometimes posts cooking videos on salud! napa, enjoys sipping all styles of Pinot Noir and relishes a good hug so give him one if you see him.

Nicole Lazo Salsa On1 Instructor

Nicole Lazo is one of Sacramento’s top salsa instructors. She is an elegant and graceful dancer who is known for her unique, sexy styling and body movement on and off the dance floor, and a true love for teaching. In addition, her humble attitude and approachable personality make her popular amongst the Sacramento dance community today.

Nicole Lazo - Dance Papi — Nicole Lazo – Dance Papi

She has an ability to effortlessly follow any lead and break down complicated patterns and moves into simple steps anyone can learn. Nicole Lazo fell in love with salsa dancing sight unseen.

Even before her very first lesson began she bought tights (which she quickly learned she did not need) and dance shoes (a half size too large because no one told her ladies’ shoes should be bought in a smaller size).

Throughout her childhood, she took dance classes, as little girls are apt to do, and quickly realized that she would fearlessly dance anywhere, anytime! Ultimately, it was her experience teaching swing dancing in the piazzas of Rome, combined with her innate love of Latin rhythm that brought her to a local dance studio.

Having traveled throughout California, Mexico, and El Salvador to be trained in salsa, Nicole still continues to seek opportunities to further broaden and diversify her knowledge of Latin dance. Nicole brings fresh movement and style straight from her travels right into the dance studio!

Ariel Ceja and Nicole Lazo - Dance Papi — Ariel Ceja and Nicole Lazo – Dance Papi

Alain Pérez Triumphs in Puerto Rico with a Confident Stride

The exclusive Tropicoro Club at the Fairmont El San Juan Hotel in Isla Verde was overflowing to welcome the multifaceted Cuban musician Alain Pérez, who performed in Puerto Rico for the first time as a solo artist. Before the dance concert, held on Puerto Rican soil, which closed Alain’s first solo tour of the United States, he had performed in New York, Los Angeles, Miami, and Tampa.

To open the concert, the Cubanísimo concept, led by Puerto Rican bassist and cuatrista Jesús Algarín, set the mood for the audience. The young musician made a confident entrance, accompanying himself with powerful interpretations on his instruments, skillfully directing his own orchestra. Prior to Alain Pérez’s show, the musicians of Cubanísimo—cuatrista, singer, and director Jesús Algarín, trumpeter Miguel Ortiz, vocalists Carmen Jiménez and Gilberto Félix, bassist Félix Juan Algarín, bongos player Freddy Camacho, conga player Jeren Guzmán, and flutist Juan Ortiz—brought to life songs like ‘El yerbero moderno,’ ‘Esa niña,’ ‘El bodeguero,’ ‘La rosa oriental,’ ‘El paralítico,’ ‘Así fue,’ ‘Parampampam,’ ‘Lo que fue no será,’ ‘Que te pedí,’ and ‘El cuarto de Tula.’ Once the musicians, directed by Algarín, finished their set, Alain Pérez made his triumphant entrance.

The singer, bassist, guitarist, percussionist, pianist, orchestra director, arranger, and music producer had been in Puerto Rico on a handful of occasions as a backing musician for artists of the stature of Issac Delgado and Chucho Valdés, to name a few. This time, of course, he arrived as a solo artist and with force, to the rhythm of ‘El cuento de la buena pipa.’ Once on stage, the “guajiro,” who confessed in an interview to having “converted to flamenco,” showed that he felt at home while singing, dancing, guaraching, playing the bass, soneando, and rumbando. Once Alain and his orchestra warmed up the luxurious venue, which was overflowing with people, the virtuous multi-instrumentalist performed songs such as ‘ADN,’ ‘El sabor de mi rumba,’ ‘Amor fugaz,’ ‘Son con moña,’ ‘Hablando con Juana,’ ‘Shorcito,’ ‘Modo avión,’ ‘Batilongo,’ ‘La lámpara,’ ‘Pa’ to’ la vida,’ ‘La moneda,’ the title track from his most recent production: ‘Bingo,’ ‘Andaba solo’—a duet with the “Caballero de la Salsa,” Gilberto Santa Rosa—and ‘Pistolero,’ the latter loudly requested by the elegant audience.

Alain Pérez acompañado de su bajista Mauro Cabrejas

Gilberto joined Alain to sing ‘Andaba solo’ as a duet, but not before giving a “welcome to this beast of music, with whom I had the opportunity to record and whom I had the opportunity to meet in person recently,” clarifying that he already knew him musically, adding that they would sing “without rehearsal, but with affection.”

During the show, the musician who defines himself as a guajiro, sonero, guarachero, and rumbero, delivered fusions characteristic of Alain’s great contribution to Latin music, within Afro-Cuban traditions influenced by his exposure to Hispanic folklore. Pérez built the show using a varied repertoire that included salsa, timba, son, and bolero in interesting fusions. Accompanied by his band—composed of Mauro Cabrejas, Josué Puig, Roberto Medina, Víctor Oliva, Alejandro Sosa, Robelis Arévalo, Julio Puig, Yunnier Stoker, Cristhian Díaz, Darío Andrés, Alejandro Fernández, and Isaac Cambar—Alain Pérez delivered on his promise: “a night full of Caribbean flavor, rhythm, and

energy.”

From the moment Alain started the dance, the energy did not wane. The audience connected with the artist and the person, who visibly emotional, repeatedly expressed gratitude “for the affection received and the nobility perceived,” adding that since setting foot on Puerto Rican soil he has “felt a lot of peace” and that he’s going to have to buy “a little ranch here.”

With the Puerto Rico performance, Alain successfully concluded his first solo tour of the United States with resounding success. That was the idea. Here in beautiful Borinquen, the audience while demanding makes sure the artist feels the love and respect with which they are received and celebrated. Congratulations!

Also Read: Bella Martinez, the irreverent Salsa writer

“An Argentinian with a taste of Cuba,” Rogelio Martínez told Carlos Argentino, the King of La Pachanga

On June 23, 1929, in Buenos Aires, Argentina, Israel Vitenszteim Vurm, better known in the music world as “Carlos Argentino,” was born. He was an excellent Argentinian tropical music singer who was part of the Cuban band Sonora Matancera. He was also known in musical slang as “The King of Pachanga.”

Born in the La Paternal neighborhood of Buenos Aires, his parents were in the textile manufacturing business, and from an early age, he showed an entrepreneurial spirit. Despite belonging to a socially and economically well-off family, he worked as a street vendor, selling newspapers, magazines, and even coffee on trams and at racetracks.

Un argentino con sabor a Cuba, dijo Rogelio Martínez a Carlos Argentino, el Rey de La Pachanga Imagen Discogs — An Argentinian with a Cuban flavor, said Rogelio Martínez to Carlos Argentino, the King of La Pachanga Discogs Image

Ignoring his parents’ wishes for his professional future, he ventured into singing under the pseudonym Carlos Torres. In 1946, at just seventeen years old, he traveled to Brazil with an unknown orchestra. Problems quickly arose, as he had to ask for the intervention of the Argentinian ambassador to return to Buenos Aires, with the intention of studying medicine at Otto Krausse University, as his parents wished.

While there, he completed his mandatory military service, and upon finishing it, he returned to the music scene, definitively abandoning his professional career. He joined the orchestras of Luis Rolero and Raúl Marengo, performing in Peru and Chile. He then traveled to Colombia with Efraín Orozco’s orchestra. Something very curious happened on that trip: there was a Colombian singer named Carlos Torres, and to differentiate himself, he added his patronymic, becoming Carlos Torres Argentino, before artistically consecrating himself as Carlos Argentino.

Carloa Argentino También fue conocido en el argot musical como «El Rey de la Pachanga».

In 1952, he also traveled to Havana, where he worked with the orchestras of Felo Bergaza, Arnoldo Nalli, and Julio Cuevas. He studied singing with the Italian professor Eduardo Bonessi.

In June 1954, he visited Bogotá, and in December, he traveled to Medellín. In February 1955, Sonora Matancera (from Cuba) went on tour in Colombia. They met at the Teatro Colombia in Bogotá. According to Carlos himself, Rogelio Martínez, director of Sonora, asked him if he was from Cuba, and Carlos replied, “I am Argentinian!” Martínez retorted, “Well, you’re an Argentinian with a taste of Cuba; you have to get on the vehicle!” “What vehicle?” Carlos asked. “Ours!” Don Rogelio replied and proposed that he travel to Havana, to which he agreed.

After several months of rehearsal, on August 17, 1955, they recorded their first 78 RPM record. His first single was the bolero-tango “Una canción” (by Aníbal Troilo), and on the other side, the guaracha “Las muchachas caraqueñas” (by Billo Frómeta). Later, he would record other songs such as: “Ave María Lola,” “El solterito,” “Cuartito 22,” “¡Ay, cosita linda!”, “Un poquito de cariño,” “Tu rica boca,” “En el mar,” “Boquita golosa,” “El novio celoso,” “Apambichao,” “Lamento náufrago,” and “La mamá y la hija,” among others; in addition to the boleros: “Alma Vendida,” “No pidas más perdón,” “El amor no existe,” “Cruel indiferencia,” and “Cuando tú seas mía.”

With Sonora Matancera, he traveled throughout Latin America and remained with the group until November 1959. In 1960, he left Cuba and traveled to Mexico. After this, in 1961, he returned to Argentina, where he was received with joy. He settled back in his native neighborhood of La Paternal, in Buenos Aires.

As a distinguished horseman, he became the owner of several thoroughbred horses, which he named after his songs: “Pachangueando,” “La Espumita,” and “El Manotón.” Apart from horse racing, Carlos was a football fan and supported his neighborhood club: Argentinos Juniors (the club where Diego Armando Maradona was born), and Boca Juniors, to whom he dedicated “Pachanga de Boca,” celebrating the title the “Xeneize” team won in 1962, and the album Somos la mitad más uno, celebrating Boca’s Metropolitano championship with Maradona in 1981. He also dedicated songs to other teams, for example, “Equipo de José” (the Racing champions of 1966-67); the one he recorded when Estudiantes de la Plata became world champions in 1968, under the technical direction of Osvaldo Zubeldía; or Chacarita Juniors (Metropolitano champions of 1969), among others.

Throughout his life, he resided – in addition to Cuba – in Colombia, Mexico, and Venezuela, where in 1978 he performed as a singer with the orchestra Los Solistas de Renato Capriles, and participated in their first two LPs, but he always returned to his Argentina.

On a memorable afternoon, July 1, 1989, he reunited with Sonora Matancera in Central Park, New York, to celebrate the group’s 65th anniversary with his old recording companions. On that occasion, he shared the stage with Celia Cruz, Daniel Santos, Vicentico Valdés, Welfo Gutiérrez, Leo Marini, and Nelson Pinedo, among other figures.

Argentino El Rey de la Pachanga con La Sonora Matancera

It was the last time he would be seen in performances, as on June 20, 1991, he died of a myocardial infarction while watching a horse race in Buenos Aires. May he rest in peace and eternal glory!

Also Read: Argentina y sus géneros musicales de origen y los tropicales

By:

Dj. Augusto Felibertt

Los Mejores Salseros del Mundo

The Night Hector Lavoe, “The Singer of Singers,” Refused to Please Pablo Escobar

January 1, 1981. The air was thick with the scent of a new year, but for Héctor Lavoe, it was anything but celebratory.

In Medellín, at a New Year’s Eve party hosted by none other than Pablo Escobar, the “El Cantante” himself found himself in a terrifying standoff.

This isn’t just a rumor; it’s a chilling anecdote that has cemented its place in music lore. It was a night when the King of Salsa faced down the King of Cocaine, and lived to tell the tale.

The Escape

The story begins with a frantic encounter recounted by a Colombian chronicler, Juan José Hoyos, who heard it directly from a taxi driver. It was well past midnight when a man, impeccably dressed in a suit but barefoot, suddenly appeared on the side of the road. He was clearly terrified, and the driver, unable to ignore his distress, pulled over.

The man, disheveled and without a dollar to his name, begged for a ride to his hotel. He explained he’d been singing at a “mafioso” party, and things had taken a dark turn. “My name is Héctor Lavoe,” he whispered.

Héctor Lavoe: “El Cantante de los Cantantes”

The taxi driver was skeptical. “You’ll have to sing ‘Yo Soy El Cantante’ if you want me to take you to the hotel,” he challenged.

Héctor, now inside the cab, bristled. “My friend, that’s exactly why I’m in this mess! One of those guys made me repeat that song like ten times, threatening me with a pistol! I got fed up and told the orchestra, ‘I’m not singing anymore, shut off the equipment!'”

The driver insisted, reminding the slight man in the suit that he was doing him a favor. Then, a voice, otherworldly and unmistakable, filled the cab:

“🎵 Yo soy el cantante / que hoy han venido a escuchar / lo mejor del repertorio a ustedes voy a brindar. / Y canto a la vida / de risas y penas / de momentos malos / y de cosas buenas. 🎵”

There was no doubt. It was Héctor Lavoe.

The Ordeal, Corroborated

What might have been dismissed as another tall tale from a taxi driver gained chilling veracity when members of Lavoe’s band corroborated the story.

Eddie Montalvo, the group’s conga player, vividly recalled the night. The gig with Pablo Escobar had been arranged by Larry Landa, a music promoter with deep ties to the drug world. The contract stipulated they’d play until 2 AM, but Escobar had other plans, demanding they continue until six in the morning.

“When it was two in the morning, Héctor told the band to stop,” Montalvo recounted. “The organizer threatened them at gunpoint to force them to keep singing. He wanted Héctor to repeat ‘Yo Soy El Cantante.'”

Amidst the chaos, the legendary salsa singer Ismael Rivera, who was also present, bravely stood up to the aggressors. Even the bodyguards got involved. Eventually, Lavoe and his musicians were herded into a small room and locked in for the rest of the night.

After an hour, in a desperate move, Héctor smashed a window. With the help of the other musicians, they slipped out one by one into the darkness, leaving their instruments behind, consumed by fear. “For thirty minutes they slipped and fell until they reached the highway,” Montalvo revealed.

And that’s how Héctor Lavoe ended up in that taxi, on a cold January morning in 1981.

A Strange Resolution

But the saga didn’t end there. The very next day, a mysterious individual visited Héctor and his band at their hotel. He presented them with a check, returned their confiscated passports and retained instruments, and offered a surprising apology.

This dramatic incident remains a stark reminder of the volatile world Héctor Lavoe navigated, and his unwavering spirit in the face of immense danger.

Also Read: International Salsa Magazine showcases important facts about Héctor Lavoe

By:

1) Los Mejores Salseros del Mundo

2) Dj, Augusto Feliberrtt

3) Hector Lavoe – Fans

Tempo Latino: An Unmissable Event in Vic Fezensac!

Get ready, salsa lovers and Latin rhythm enthusiasts, because the Tempo Latino festival is returning to Vic Fezensac from July 24 to 27, 2025, for its 30th edition, promising an unforgettable experience.

This internationally renowned event transforms the picturesque French town into the epicenter of Latin music and culture.

How to Get to the Heart of the Party?

Getting to Tempo Latino is easier than ever. If you prefer convenience, the festival offers a bus service from Mont de Marsan, Agen, and Toulouse.

Once in Vic Fezensac, the “navetitas” will take you to your accommodation within the Community of Municipalities of D’Artagnan in Fezensac, and are free for accompanied children with prior reservation.
For those choosing the train, the closest stations are Auch, Agen, and Toulouse.
And if you’re coming by car, Vic Fezensac is 1 hour and 20 minutes from Toulouse and 2 hours from Bordeaux. You can even carpool for a greener arrival!

IMG July 2025

Accessibility for Everyone

Tempo Latino prides itself on being an inclusive festival. If you come by car, parking spaces are available at Place du Foirail. During the festival, Rue Reynal and Avenue Edmond Bergès will be pedestrianized, facilitating access to the venue. Most importantly, all Festival stages—Scène Tempo Arena, Scène de La Conga, Scène Cap Tempo, and Concert Église—are accessible to people with reduced mobility. There is even a dedicated platform at the Tempo Arena to ensure a perfect view of the stage.

Accommodation Options for Every Festival-goer

To fully immerse yourself in the experience, Tempo Latino offers various accommodation options:

Goulin and Les Acacias Reception Areas: If you have a concert pass, you can camp in tents at the Goulin rugby stadium or the Acacias football stadium (new for 2025!). Reservations are valid from Thursday morning to Monday morning with a fixed fee.
Cauderon Reception Area: The municipality of Vic Fezensac is opening this area for tents, cars, and motorhomes, with a discharge station available. It will be open from July 21 to July 27, 2025. For more details, you can contact the town hall at 05 62 64 47 00 (press 1).
Other Options: The Tourist Office offers a list of available accommodations and “Esprit libre” packages that include accommodation and festival tickets. You can visit armagnac-dartagnan.com or call 05 62 06 34 90.

A Star-Studded Lineup for 2025!

The 30th edition of Tempo Latino is packed with talent. Here’s a preview of what awaits you at the Tempo’Arena:

Friday, July 25: Via La Habana
- 9:00 p.m.: Eliades Ochoa
- 11:00 p.m.: Issac Delgado y su Orquesta + guests (Haila and Alain Perez…)
Saturday, July 26: “Minha noite brasileira” via Rio De Janeiro
- 9:00 p.m.: Joao Selva
- 11:00 p.m.: Flavia Coelho
Sunday, July 27: Via Nueva York
- 9:00 p.m.: Yuri Buenaventura
- 11:00 p.m.: Spanish Harlem Orchestra

Additionally, on Thursday, July 24, Scène La Conga will offer a “La Electronica de Bogotá” night with DJ sets by Caribombo and SimaO, and a performance by Acido Pantera.

Get Your Tickets

You can book your tickets online at tempolatino.com/billetterie, at the physical store at 3 rue du Général Delort 32190 Vic-Fezensac, or by phone at +33 (0)5 62 06 56 66.