Search Results for: Salsa music

Salsa at its best, led by the leader of La Puertorriqueña: Don Perignon

The most recent production of the Bailable Víspera de Reyes, which was instituted in 1987 by the timbalero and band leader known in the salsa scene as Don Perignon, was quite an event. Thirty-eight years ago, ‘La Puertorriqueña’ was still known as ‘Compañeros y amigos’.

El líder de La Puertorriqueña, Don Perignon

However, the dance that fulfills a promise made by Perignon to kings has continued to be celebrated beyond the names with which Perignon has identified his band over time.

Each year, the show brings with it a box of surprises. In addition to what is promised during the promotion, the salsa public that comes to the traditional gala knows that anything can happen there. This year, the stage showcased great artists in addition to the luxurious closing that gave us the night by way of El Caballero de la Salsa, Gilberto Santa Rosa performing the emblematic song by Johnny Ortiz, ‘Tu música popular’.

Ángel Martínez, Efraín Hernández, Don Perignon y Miguel Aponte

In this edition, held on January 5, 2025, the concert was started by the successor of the Perignon dynasty, also a percussionist, Pete Perignon; flanked by vocalists Ricardo Rodríguez in the more melodic songs and Julio López in the heavier numbers. López got the first turn at the microphone with ‘Azúcar pa’ un amarga’o’, followed by Rodríguez in the key of ‘Cuéntame tu historia’.

According to Pete himself, he invited Jorge Yadiel Santos to silence rumors regarding the singer’s departure from his orchestra. With the vocal power that characterizes him, the now soloist closed the presentation of the first orchestra of the night; performing ‘Baila’ and ‘Gotita caído en clave’.

Cuto Soto, Gamalier González, Rafy Torres, Pedro Marcano, Carlos __Coamito__ Martínez, Jr., Ángel Segarra y Humberto Ramírez

The group led by Pete Perignon and his timbal offered a great performance with master musicians of the present generation. These were: Jean Carlos Camuñas on the tumbadoras, Carlos Pagán on the bongó, Reynaldo Burgos on the piano, Jorge Rivera on the bass; Víctor Ambert and Jahaziel García on the trumpets; Darnell Febres and César Javier Ayala on the trombones, and Víctor “Yuca” Maldonado on the baritone saxophone.

La Mulenze kept the crowd on the dance floor, with the first song of their repertoire being ‘La sala pa’l baile’, performed by Rafy Andino. The vocal front was completed by Rafy Cruz and Alex Ojeda. The bassist, director of the orchestra of eternal youth, Edwin Morales led his boys, as he affectionately refers to his musicians; Among them were Emanuel Navarro on the tumbadoras, Robert Watts on the timbal, Alberto Muriel on the bongo, Manolo Navarro on the piano, Carlos “Coamito” Martínez, Jr. and Abdel Rivera on the trumpets; in addition to Willie Torres Ortiz and Heity Morales Nogueras on the trombones. The golden touch was offered to those present during the interpretation of the song “Mala paga”, written by our Moncho Rivera, when the Venezuelan master musician and sonero Marcial Istúriz took on the task of accompanying Rafy Andino on the soneos, shortly after Rafy confessed to being a great admirer of one of the greatest exponents of the salsa sound in Venezuela.

Henry Santiago, Joe González, Rico Walker, Marcial Istúriz, Hermán Olivera, Jerry Rivas, Pichie Pérez, Josué Rosado y Pedro Brull

Before starting his presentation, the star of the annual gala, Don Perignon marked and conducted the orchestra to play ‘Happy Birthday’ in honor of the evening’s host, also Z-93 announcer: Néstor Galán, “El Búho”. The timbalero conducted the orchestra, which was reinforced for the evening with guest musicians. The group in its Bailable Víspera de Reyes 2025 version was composed of: Charlie Padilla on the tumbadoras, Miguel Aponte on the bongó, Ángel Martínez on percussion (güiro), Luis Marín on the piano, Efraín Hernández on the bass; Cuto Soto, Gamalier González and Rafy Torres on the trombones; in addition to Pedro Marcano, Carlos “Coamito” Martínez, Jr., Ángel Segarra and Humberto Ramírez on the trumpets. For the vocal front, Perignon called on: Henry Santiago, Pedro Brull, Joe González, Pichie Pérez, Josué Rosado, Jerry Rivas, Rico Walker, Marcial Istúriz, Hermán Olivera and Gilberto Santa Rosa.

The repertoire took the followers of La Puertorriqueña on a historic tour that demonstrated the variety of songs and voices that come together in a salsa key with the cadence and flavor that Perignon manages to give to each project he leads. Joe González performed ‘Ciudad, ciudad’, Pedro Brull excelled singing ‘Represento’, Pichie Pérez was in charge of vocalizing ‘Como mangó’, Josué Rosado visited to sing ‘Cantándole al amor’, Jerry Rivas was in charge of ‘El pin pin’, Rico Walker shined with ‘Que vengan rumberos’, followed by Marcial Istúriz and a masterful interpretation of ‘La familia’ and Hermán Olivera with his spectacular ‘Ritmo Bembé’.

Marcial Istúriz comparte micrófono con Hermán Olivera

La Puertorriqueña was born in 1988 near the promise of Kings, which happens every January 5. The dance of January 5, 2025, which was held at the Sheraton in San Juan, Puerto Rico and was dedicated to trombonist Toñito Vázquez (RIP) showed that the promise of Reyes by Don Perignon -who is the leader of a generation of musicians- established more than three decades ago, remains valid. The participation of El Caballero de la Salsa recreated the beginning of his career, together with his first musical director: Don Perignon. That brotherhood between Gilberto and Perín, like the promise of Reyes, also remains valid. For our part, we will continue in salsa thanks to the call of the leader of La Puertorriqueña.

Also Read: Don Perignon and La Puertorriqueña are prides of Puerto Rico

Oscar Rojas Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor

Oscarcito Rojas and his unmistakable lump.

In Venezuela, during the years 53-54, there were cold and humid nights in the home of the Rojas Mendoza Family, located in a high area of the Pastora of beautiful Caracas, there the furniture that was outside would wake up damp, particularly a child’s chair with a colonial design, which had the back and seat made of cattle leather, which when heated by the heat of the sun became warm like the leather of a coastal drum.

That is when the restless child Oscar, barely 7 years old, discovered the sounds produced by that cured leather and began that love relationship with percussion without realizing that this would be his life; his livelihood; his passion; his everything.

Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor

He also devised a pair of congas with two milk cans of different sizes, and thus achieve different sounds in his new instrument.

By the 70s, being a talented young man and wanting to earn his own living, Oscar bought a motorcycle to work as a messenger. Unfortunately, he had an accident on it, which led to his resignation from the company. With the money he generated from the liquidation, he bought a drum kit that belonged to the illustrious Pavo Frank. This is how his foray into rock began.

Later, due to the fractures he suffered in the motorcycle accident, he could not continue playing drums, but he got involved in percussion without a drumstick, which is to say, by hand, and he started playing congas.

Óscar Eduardo Rojas Mendoza is one of the most beloved and respected conga players in the country. He is the third of five siblings (Jaime; Yolanda; Óscar; Freddy and Leibia), son of Óscar Benito Rojas (musician and cabinetmaker) and Cira de los Santos Mendoza (dressmaker).

Loved by all his family, especially by his sons Gabriel ☦️ Osduare☦️ and Enrique; and his granddaughters Gabriela and Daniela.

Familia Rojas Mendoza: Liebia, Freddy, Oscar, Yolanda y Jaime

Born in Caracas on October 18, 1946, he began his musical career in 1970 with Ramón Hernández, continuing with a trail of figures such as: Pablo Schneider, Vytas Brenner, Victor Cuica, Oscar Maggi, Soledad Bravo, Lilia Vera, Frank Hernández (El pavo Frank), Oscar D’Leon, Chuchito Sanoja, Professor Juan Carlos Núñez, Alfredo Naranjo.

He has participated in the best Jazz festivals in the world and in the country such as the Memphis in May International Festival (Tennessee), Varadero International Festival (Cuba), V International Festival of Montreal (Canada), Festival D’te de Québec (Canada), 10 International Festival of Montreal (Canada), Mar de Plata Jazz Festival (Argentina), Curacao International Festival where he was invited by the great saxophonist Paquito D’ Rivera, in the Venezuela Jazz Festival, in the 4 Caracas Jazz Festivals, in the Jazz Festival in El Hatillo editions IV, V and VII, and in festivals in the interior of the country.

He was an active founder of salsa groups such as Oscar D’Leon, where he participated in the recording of the first 3 albums, the group Caribe Libre, Gerardo Lugo’s Incorregibles, Alfredo Naranjo’s El Guajeo, Nano Grant’s Ensemble ll, Pavo Frank and his Orchestra. He was also part of the jazz groups Oscar Maggi (Macoya), Pedrito López, Otmaro Ruiz and Víctor Cuica.

Among the national and foreign artists he has accompanied are: Trino Mora, Chucho Avellanes, Mirtha Pérez, Estelita del Llano, María Rivas, Nancy Ramos, Nancy Toro, Cheo Feliciano, Ted Cordón, Paquito de Rivera, Eddie Sansson, Aldemaro Romero, Chuchito Sanoja, Jimmy Bosch, the Venezuelan Symphony Orchestra, the Municipal Symphony Orchestra of Caracas, among others. He was the founder of the La Calle Group and the Ensemble de la Calle, ReNueve (rock group), Negros and Aparte.

He currently works as a percussionist for Maigualida and his Ensemble. He also rehearses every Wednesday at Juan Sebastián Bar “El Templo del Jazz y La Salsa” with the new Ensamble de la Calle.

He has been in a musical career for 54 years, full of passion, rhythm and flavor.

Oscarcito Rojas y su mazacote inconfundible

Research Sources:

Djane. Shina Rojas

Jaime Rojas

Lutier: Freddy Rojas

Also Read: Djane Shina Rojas a Passion Turned into Reality

Saxophonist and flutist Dave Victorino talks to International Salsa Magazine

Dave Victorino is a saxophonist and flutist who plays various Latin genres such as salsa, Latin jazz and swing in the city of Los Angeles, California. The American musician has been kind enough to talk exclusively with International Salsa Magazine about various topics, including his beginnings, current career and existing projects. We hope that our esteemed readers will like the details of this conversation.

Saxophonist Dave — This is saxophonist and flutist Dave Victorino

Young Dave’s beginnings in music

Dave recalls that his taste in music led one of his cousins to give him a flute so that he could start playing an instrument and see what happened. However, over time, the young man preferred the saxophone, which he found he liked much more at the time. He reckons that his interest in music began when he was just a 12 or 13-yeard-old.

His interest in the saxophone began with a friend of his mother’s who was a teacher of that instrument, so he was the first to teach him how to play it properly and, even after so many years gone by, he continues to remember everything he learned with him.

Education

Dave graduated with a degree in music education from Cal State Los Angeles and assured us that one of his greatest mentors there was saxophonist Barney Martinez, a very important figure in Latin jazz at the time. This was a time of great learning for what was to come professionally, and that knowledge continues to help him a lot.

He also studied with other important music teachers and professors who complemented his musical training almost perfectly.

What has Dave learned from his greatest collaborations?

Throughout his career, Dave has collaborated with groups such as The Henry Mora Big Band, Temptations, Al Viola, Fred Ramirez, Little Anthony and The Imperials and many others. Obviously, all these personalities have had something important to teach the musician when sharing the stage with him.

Dave refers to Henry Mora as one of his greatest mentors in this whole process, as he had much more experience than the artist, so he had a lot to learn and imitate from him.

Each professional experience is one more step on the road to excellence that Dave and any artist looks for in his work, which is achieved through practice and spending time with more experienced teachers.

Dave playing — Dave Victorino playing the saxophone live

Great inspirations

When we wanted to know Dave’s greatest inspirations, he could not help but first mention the group El Chicano, with which he played in the early 1980s. One of its founding members and singer Bobby Espinosa, who showed him some recordings of the Fania All Stars and Johnny Pacheco while playing one of the best solos Dave had ever seen. In fact, the artist considers Pacheco his favorite flutist from the very moment he first heard him.

He also commented that he really likes the way Stan Getz, a Californian saxophonist whose main genres were jazz and pop, played.

How his love for Latin music was born

Dave’s first contact with Latin music was with the group El Chicano, but then came other groups that playing genres that caught his attention.

For several years in the 1980’s and 1990’s, he played in a park three times a week and, on those same days, a DJ would play music by Johnny Pacheco himself, El Gran Combo de Puerto Rico and other salsa groups. He became so fascinated with everything he heard that, little by little, he began to transform his repertoire into one that also included salsa and Latin jazz.

Initially, he only cared about playing this music without understanding the lyrics, but then he began studying and learning a little Spanish to get a better performance in his work. However, he assures that this detail has never posed a problem or a limitation to get good performances in Latin music.

Dave and Barbara — Dave Victorino playing with singer Barbara Reed

Music Classes

Another interesting thing about Dave is teaching. He currently teaches saxophone, flute, clarinet and piano to a good number of students, who have taught him the virtue of patience and determination to always learn something new.

His students are of different ages and he teaches various levels.

Dave and Anthony — Dave Victorino playing with saxophonist Anthony Gil

También lee: Eddie Muñíz continues to head Swing Sabroso

Salsa, territory of joy.

Latin America / Venezuela / Caracas

Salsa, territory of joy, language of celebration, enjoyment of the towns and their people, was born from a confluence of facts, geniuses and rhythms. Confluence that happened in the faith of the same religion: Afro-Cuban music.

And that mixture, which Richie Ray and Bobby Cruz cleverly described as “similar to the tomato sauce that is put on hamburgers to give them flavor”, was summed up in the insightful sentence of the occasional witness, the journalist Phidias Escalona: “the music that you make is salsa. From now on we will call it sauce”.

The year was 1968 and although the new rhythm already existed, there had been no consensus on the name. And that consensus began to emerge -perhaps for the first time- on the album “Los Durisimos The Strong Ones, Salsa y Control”, by Richie Ray and Bobby Cruz. Later, Richie himself would add: “The word was born around us, (however,) if it weren’t for (Jerry) Masucci there would be no salsa, because he brought it to the world.”

In 1960s New York Harlem, black Americans had begun to like Latin music, despite not speaking Spanish.

Ama a tu musa como a ti mismo - Salsa — Ama a tu musa como a ti mismo – Salsa

The guajira dazzled them until they made them dance. Believing that the mixture of boogaloo, blues, mambo, guaguancó or son montuno, was a variant of the boogaloo invented by Chubby Checker, the new rhythm was founded, incorporating the concepts of the Latin spirit in their interpretations and that -technically- they would add to the baggage : percussion, piano, violins, trumpets, trombones and whatever instrument would serve to give it flavor and richness.

Cocola' Wears - Venezuela Salsa — Cocola’ Wears – Venezuela Salsa

Musically, for example, the so-called “blue notes” would be added (that is how the overtones of the acoustically weak E and B notes, last to be added to the scale, where they would be relocated between Lam and Lam) would be added to the new fusions. Then came the downloads and phrases that we know until now as characteristics of salsa.

Thus the sauce was born. And so it has been transformed, always within the circle that encloses joy, passion and enjoyment, history, experiences, fortune or misfortune, seen from different perspectives: urban, social, sensual or everyday.

Marcial Isturiz. The Versatile of Salsa

Latinoamerica / Venezuela / Caracas

Martial Isturiz. The Versatile Salsa 28 Years In Music

“28 years in Music. It is said easy. Very easy”

But *ALL* that path of dirt and grime that has been walked, is now a flowery field. I thank those who have supported me and those who have not, because they make the perfect balance.

To my brothers in life that I have cultivated in music, old and new.

Photo - Marcial Istúriz and his drums — Photo – Marcial Istúriz and his drums

To my ancestors for bringing the Drum and its color and making me the Negro Congo that I am.

To *my mother*, for life and for giving me love in her own way.

To *my father*, for the seed and the iron upbringing that many young people currently lack. Bad or good, I had it next to me, and that’s more than enough.

To my musical influences, foreign and national, with whom I have largely had the blessing of working with them.

Photo 2 - Marcial Istúriz and his drums — Photo 2 – Marcial Istúriz and his drums

To those who reached out to me at specific moments in life: Tomás, Jimmy, Manuel, the Calatayud García. They are in my heart.

Thanks to music, which saved me from being the best *Pran* in the world. Because my grandfather told me that if he wanted to be the best at something, he’d pigeon him. Whether he was a sweeper, or a bricklayer, or a salesman, but he must be the best.

Thanks to my brothers Ángel and Armando, and to my cousins Manuelito and William, inveterate music lovers, who fed my soul and ears, and opened my brain musically.

To my teachers and brothers of the Latin Dimension, because our anniversary dates coincide, and for allowing me to be One more DIMENSIONER, when they require #Eteketakí. They carry 46 by the chest, today too!

I am not what I am without any of you.