Search Results for: Salsa music

Federico Betancourt “Pioneer of Salsa in Venezuela”

Latin America / Venezuela / Carabobo

Jesús Federico Betancourt was born in the city of Valencia, Carabobo state, on March 22, 1940. He was always attracted to music from a very young age.

In his adolescence, he liked Cuban rhythms, being influenced by Sonora Matancera, Mon Rivera, Eddie Palmieri and Joe Cotto. Before entering the entertainment world, he works at the Bank of Venezuela.

He affirms that he has not carried out formal studies at the musical level, learning the necessary theory to be able to perform as an orchestra conductor, but without interest in interpreting any instrument, but with a well-tuned ear, which has allowed him to remain in the music business for decades. , in fact on certain occasions he is named as the King of the Güiro.

His career began when he entered the Los Selectos Orchestra, where they played songs by the Billos Caracas Boy’s and the Los Melodicos Orchestra, which were at their peak in the 1960s, all this in a particular way, said Orchestra did not go beyond that.

In 1965, Federico Betancourt decides to satisfy his artistic restlessness and founds a band called Federico y su Combo Latino. The members that made up this band were chosen from among the founder and together with Roberto Monserrat.

But it was not until the middle of 1966, when the twenty-six (26) year old undertook the recording of the LP that would make him famous forever. This record production entitled LLEGO LA SALSA, would mark an important stage in Venezuelan Salsa, because it was the first LP that made use of the word SALSA in the country.

Federico Betancourt himself recounts that the Venezuelan announcer Phidias Danilo Escalona had a Radio Program called LA HORA DE LA SALSA, EL SABOR Y EL BEMBÉ, where all the Cuban and Puerto Rican Caribbean rhythms that were fashionable at the time were placed, among those who highlighted La Sonora Matancera with Celia Cruz, Tito Puente, Joe Cuba, Tito Rodríguez among others, and who was the one who supported them the most in terms of recording the album.

The production was recorded under the Palacio label, and the LP was titled LLEGÓ LA SALSA, he affirms that the title was chosen without taking into account the importance that it would revert in the future, he also affirms that it was not the name that gave him success , the album was a “bump” in sales, since all the songs were the most requested at the time, using his words: “The album sold like hot cakes”.

The music lovers of the time requested it on specialized sites such as the LA SALSA album. Federico says: “The father of the word SALSA was Phidias Danilo Escalona, he used it for the first time in his radio program, and I, humbly, with the success of my LP, gave him the push for its mass use.”

Federico Betancourt - Photo — Federico Betancourt – Photo

In Venezuela, the word SALSA was welcomed by the public willingly, since it suggested a mixture of flavors, which was exactly what happened in the Phidias program, but at the level of rhythms. After the appearance of Federico’s album, all the shows that were performed at the level of Caribbean and Cuban rhythms, carried the name of SALSA.

It is important to name the musicians who took part in this historic production: The musicians are: Ali Rojas Bongo and Cencerro, Roberto Monserrat Music Director and Timbal, Pedro Medina Congas, Alfredo Arcas Trombone, César Pinto Trumpet, Enrique Iriarte Piano, Rafael Prado Bass, Carlín Rodríguez Singer and maracas, Dimas Pedroza Singer, Federico Betancourt Güiro and Director of the Orchestra. The musical arrangements were by the famous trumpeter Eduvigis Carrillo (RIP). Production themes:

Llego la Salsa CD - Federico su Combo Latino — Llego la Salsa CD – Federico su Combo Latino

1.- Cocolía

2.- Conmigo
3.- El Pachanguero

4.- Sancocho Caliente
5.- Guaguancó Manía

6.- Celosa

7.- Despierta Rumbero

8.- No Critiquen
9.- Saoco

10.- Baila Yemaya
11.- Café Y Pan

12.- Que Me Querías

After the success obtained with the record work, the time came for the first international outing, which was to Colombia, in 1969. It happened because the singer of Los Melodicos, Víctor Piñero, informed Betancourt that he was stuck in Cartagena and Barranquilla with the themes El Cobrador and Federico Boogaloo. After the information, the young musician went to the neighboring country and got a contract for the famous Reina del Mar parties, in Cartagena, on November 11, 1969.

The experience of the band was so good, that in 1970 they returned to visit the country. From then until our days Federico y su Combo continues to be an emblematic and legendary band in Venezuela, for this reason the WEB of the classy salsero SALSA BRAVA, offers its respects to such an important salsa figure.

Discography
1966	Llegó La Salsa	Palacio (LPS-6171)
1966	Salsa y Sabor	Palacio (LPS-6185)
1967	Más Salsa	Palacio (LPS-6205)
1967	Durísimo – Vol. 4	Palacio (LPS-6216)
1968	Federico Boogaloo	Palacio (LPS-6228)
1968	Psicodélico Con Salsa	Gilmar (LPG-110)
1969	Mejor Que Nunca	Gilmar (LPG-111)
1969	Vibración y Ritmo	Sonus (102-17080)
1970	Dos Sets	Velvet (LPV-1539)
1970	La Machaca	Velvet (LPV-1539)
1973	Federico Si Te Pone A Bailar	Palacio (LPS-6332)
1975	Derrape De Salsa	BASF (10.068)
1976	Siguelo Ahí…. a Lo Cortico	BASF (10.070)
1977	Ayer y Hoy	BASF (10.076)
1977	Esto Es Lo Mejor	Palacio (LPS-6372)
1978	Mis Exitos y Más	BASF (10.079)
1978	Sabor	Foca (LPF-10.037)
1979	Federico y Su Combo	Foca (LPF-10.120)
1979	Federico y Su Orq. – El Maestro	Discomoda (DCM-1128)
1980	Federico y Su Orq. con Memo Morales	Discomoda (DCM-1148)
1982	No Le Digan	Integra (PF-14.075)
1983	Nuevamente	Palacio (LPS-66.541)
1984	SaaaBroooSo!	Palacio (LPS-66.552)

Compilation
1996	Mis Exitos y Más…Vol.1	Sonograma
1996	Mis Exitos y Más…Vol.2	Sonograma
1996	Mis Exitos y Más…Vol.3	Sonograma
2005	El Pionero De La Salsa	Palacio
2008	Salsa De Oro	Gilmar

Pirisalsa Orchestra

Latin America / Venezuela / Falcon

The music is the result of the creation of a rhythm that tries to convey a message that the artists give to their audience and depending on the voice, the lyrics, the instruments and above all the desire to transmit that feeling, they make people want to listen to it and dance to it.

The Orchestras became known for being dynamic groups, creators of rhythms and party entertainers; something that cannot be replaced by a DJ or digital music, since recorded music and live music are two different things.

In the state of Falcón, Venezuela, there is the Grupo Piritu, who make up the Pirisalsa Orchestra, they are a group of talented young people who, despite their young ages, know how to transmit the flavor of Salsa to their audience.

They emerged and were educated in schools and through the selection of the most outstanding children in music, they gradually gave rise to the orchestra, being a pleasant and rhythmic sound to the audience to date, not to mention that it is a group with many followers full of dreams and musical desires. They mention that “since our first presentation on October 19, 2011 to date we have not stopped working…”.

Pirisalsa Orchestra with Augusto Felibert - Asocosalsa — Pirisalsa Orchestra with Augusto Felibertt – Asocosalsa

Currently his manager is Frank Molina, he says:

“That as a manager whenever he discovers a rough diamond project what he wants is to make it shine to achieve and achieve the dreams of each member and turns it into a single dream, because the Pirisalsa orchestra is a family. …the goal is to ensure that our work is recognized both nationally and internationally, I have been working for some time now, spreading this project on radio, television and social networks, we also have the support of many artists who believe in this Project. These young people are admirable because at their young ages they decided on this genre that is SALSA”.

Franky Frorentino - Pirisalsa — Franky Frorentino – Pirisalsa

The Pirisalsa Orchestra plays SALSA, with a smooth style in its message and melody, despite the fact that the rhythm is very lively, thanks to the percussion instruments, showing us and maintaining its Latin, Afro-descendant, and Caribbean roots in its music.

They have had the opportunity to participate in several important events in Venezuela, such as the PDVSA Salsa Festival held in La Estancia, Caracas in two editions, where they managed to share with great bastions of this genre throughout Venezuela, especially in Caracas, there were also a Festival in Maracay, Aragua and recently at the Whatuyusei Festival in Punto Fijo, Falcón, where they shared with artists such as Omar Enrique, la Melodía Perfecta, Gustavo Eli, los Bois Servando and Florentino, among others.

However, their goal and desire is to take their music throughout Venezuela and abroad so that the whole world can listen to them, appreciate their talent and be able to project themselves as an orchestra, since when they are on stage in a presentation they sing full of a feeling of love but that is with great elegance, with a fresh, tender language, full of emotion and kindness, but always transmitting his deep love for his homeland Venezuela.

The members of the orchestra are mostly young people and children from the town of Piritu, Falcón, dividing into:

● Evannys Lorves – Vocalist	● Daniel Peña – Hand Bell
● José Amundarai – Vocalist	● Bongo Wullian Álvarez – Piano
● Yerli Lugo – Vocalist	● Javier Gómez bajo eléctrico
● José Daniel Lugo – Timbal	● David Gómez (director musical) – trombón
● Reinaldo Pérez – Congas	● Reinaldo Antonio Pérez – Trumpet
● Navarro trompeta y Luis Navarro – Trombón

The Pirisalsa Orchestra and its Manager Frank Colina gave a message to all the new talents, which goes like this “if you have a musical dream, don’t let difficulties stop your path, believe in your virtues, try to be yourself, don’t copy nobody, be original, offer your own proposal and believe deeply in it, don’t stop no matter how hard the circumstances are, fight relentlessly until you break down the barriers and achieve your goals. He who perseveres achieves.”

For more information Pirisalsa Orchestra:

Facebook: @frank.colina
Instagram: @managerpirisalsa
Twitter: @pirisalsamanage
Phone: +(58) 4168076199 / +(58) 4168044073

Fundación Cultural Madera 15 where Brotherhood, Sports, Dance and Salsa go Hand in Hand

By the end of the 70’s and beginning of the 80’s a group of young people from different parts of the country gathered by chance in the same sector 4 de las Mercedes in La Victoria, Aragua State, began to listen to the new genre of the time, the popular “Salsa”.

Fundación Cultural Madera 15 donde la Hermandad, el Deporte, la Danza y la Salsa van de la Mano

Each one with different tastes but without leaving the genre, they felt the desire to imitate the Venezuelan and international bands they knew through the Lps, so every weekend they organized themselves to play their instruments with musicians already studied and the guataqueros in an empirical way.

These meetings became more and more frequent and due to the need of an acquaintance of the zone to have a salsa group they decided to form the first salsa group of the sector called “El Quinto Sonero”, then years later with many of the members of the previous group they formed the group “Juancito y su Son” and years later the “Conjunto Sabor”.

It is worth mentioning that the rehearsals of the different groups took place in the homes of some of the members, playing songs by Ray Barreto; Eddie Palmieri; Dimensión Latina; Grupo Mango; Trabuco Venezolano Grupo Libre and of course Grupo Madera, among others.

By the end of the 80’s this same group of young people always supported by their families decided to formalize all the events that took place during the year, thus creating the “Madera 15 Foundation” unifying culture, sports, art and dance all in what was once a “Little Square” and over the years became a court, which would become its main location.

Its name is due to the admiration that everyone felt for Grupo Madera and product of its unexpected accident in which most of its members lost their lives on August 15, 1980.

For this reason the affection and the interpretation of many of their songs and the attendance to their concerts. Once the tragedy occurred, the passion for the Caracas group grew, specifically in the Marín neighborhood of San Agustín del Sur, which was invited to the inauguration of the Cancha in 1989, an invitation that was accepted and it was possible to enjoy three days of Afro-Caribbean songs and dances among neighbors and people close to the area.

From then on, cultural, recreational and sporting activities are carried out and one of the most important meetings is organized every year on December 31st, where the Guataca de Fin de Año is held, which began as an informal meeting of these young people every year-end, specifically on the 31st of the year, and continued with a soup on January 1st, welcoming the new year.

Currently by decree of the Mayor of the Municipality of Ribas in La Victoria Aragua State, specifically by Mayor Juan Carlos “Jaimito” Sanchez in his 1st term in 2012, the Municipal Day of Salsa is celebrated, and are invited to cultors and musicians from different parts of the country to participate in this special date with all attendees, which enjoy a unique day full of much feeling.

For years, all kinds of musicians, orchestras, groups and salsa characters that have exalted the salsa culture, as well as characters of the gaita and folklore, have passed through the festival.

Today, the tradition of the Guataca is still maintained, paying tribute to the life of its famous characters and remembering those who left for another plane and those who unfortunately emigrated.

Hand in hand with the music was also formed the dance group of the area called in its beginnings “Los Gurrugurru” which performed nationalist dances and sang aguinaldos and parranda every Christmas. Today there is still a dance group called “Danzas Tricolor” also dancing all the national folkloric dances.

Through both groups passed the great majority of the young people of the sector and after generations their children and now grandchildren, all under the direction of Griseida and Mileyda Batidas.

It is important to highlight some emblematic names of the foundation among them stand out:

Benilde (RIP), Mercedes (RIP), Ligia (RIP), Aminta (RIP), Alicia (RIP), Carmen (RIP), , Williams (RIP), Santana (RIP), Agustín (RIP), Neptali (RIP), Mileyda (RIP), Ángel Miguel (RIP), Amalia, Dinora, Raquel, Adela, Eugenia, Ángel, Jaime, Nelly, Entre otros.

Participating Families:

Los Bauter, Los Yanes, Los Ascanio, Los Bastidas Salazar, Los Momplasiert, Los Power, Los Anzolar, Los Escalona, Los Guevara and many more.

Memorable sites

La Placita, La Cancha, La Matica de Amalia, La Esquina de los Bauter, and El Terreno.

There the traces of all those who in their time gave their hearts for the good of the most rumbustious sector of La Victoria were captured.

This message goes to them:

MADERA 15 we are all and even those who left.

Collaboration and Main Source:

Lcda. Shinaury Rojas / Publicist for Salsa Escrita

Photographer Nelson Bauter

Actividad con el Septeto Caribe y Nelson Bauter en La Fundación Cultural Madera 15

Also Read: Djane. Shina Rojas una Pasión Convertida en Realidad

Enrique “Culebra” Iriarte, master of the piano and musical composition

Eusebio Enrique Iriarte, “Culebra Iriarte, was born on January 24, 1947 in Maiquetía, in the Republic of Venezuela.

Enrique Culebra Iriarte, master of piano and musical composition

In his childhood, Enrique Iriarte was already taking his first steps in the musical world with his father, who played several instruments.

His name was born in the Sonora Caracas thanks to the vocalist Johnny Perez when he discovered the thinness.

After his incursion in this world, with the inherited talent and the permanent updating and musical practice, has allowed him to treasure a long trajectory full of experiences next to orchestras such as La Sonora Caracas, Federico y su Combo Latino, El Sexteto Juventud, Don Filemón, in the beginnings of La Dimensión Latina for 10 months.

He also accompanied Oscar D’León on piano, for whom he also arranged his songs, among which are: “Mata Siguaraya”, “El Manicero”, “Siéntate Ahí”, “Mi Bajo y Yo”, “Mis Hijos”, “Juanita Morei”, “María”, “Ven Morena”, among many others.

In 1981 he recorded his first long-playing record, standing out with the song “La Ola Marina”, a piece that reached the first place in the music scene. It is worth mentioning that this album earned him a platinum record.

With more than six decades of artistic career, this Venezuelan virtuoso has left an indelible mark on salsa, collaborating with great artists such as Oscar D’León. During his career, the experience gained in iconic groups such as: La Dimensión Latina, Sonora Caracas, Federico y su Combo Latino, among others.

Currently, he continues to perform with his Sonora and has already become an internationally recognized musician.

Enrrique “CulebraIriarte Icon of Salsa is declared Illustrious Son of La Guaira and Cultural Heritage of Venezuela.

“Mr. Felo Bacallao Founder of the Aragon Orchestra, we are very proud to have as Cultural Heritage this distinguished MUSICIAN Maestro Enrique Culebra Iriarte”.

Reconocen trayectoria de “Culebra” Iriarte

September 28, 2019

The outstanding Guairean musician and arranger Enrique “Culebra” Iriarte was honored for his career, being considered one of the best salsa pianist, in an event held in the auditorium of the Bolivar Chavez Square.

Iriarte has stood out as a member of orchestras such as La Sonora Caracas, Federico y su Combo Latino, Sexteto Juventud and Don Filemón.

He was one of the founders of Dimensión Latina, the group that paid tribute to him yesterday and with whom he shared in some of the interpretations made by Rodrigo Mendoza, José and Edie Pacheco.

Culebra accompanied Oscar de Leon for many years as arranger of many of his songs.

The Mayor’s Office of Vargas presented him with the Armando Reverón order, within the framework of the municipal program “Forjadores y Forjadoras de Identidad Guaireña”, which seeks to exalt the work of men and women from Guaire.

Culebra Iriarte's trajectory recognized — Culebra Iriarte’s trajectory recognized

“This is an emotional act with the presence of many musicians of the region, friends and relatives of Iriarte, to exalt the legacy that for years has given us this extraordinary musician. This is the twelfth award to people who have marked the local history”, said Alexis Rumbo, secretary of municipal government.

Percussionist Augusto Felibertt relates: exactly from 1997 to 1999 I was in the ranks of Maestro Enrrique ¨Culebra¨ Iriarte and his Sonora playing the Tumbadoras, at that time the founding members were:

Enrrique ¨Culebra¨ Iriarte: Pianist, Musical Director and Arranger, Eli: Bassist.

Juan Pablo Barrios: Timbalito, Campana and Bongo, Larry Machado: Singer, Perla Tabata: Singer, then Maritza De Quisquella, Cesar Pinto: 1st Trumpet, Yenny: 2nd, 3rd Trumpet a special guest, substitute percussionists: Yomar Mendez (Caballo) and Heyzer Cabrera.

Tremendous experience lived with all these musicians. Fabulous.

Note: The rehearsal studio at No 41 in Caño Amarillo-Caracas.

Augusto Felibertt y Enrrique Culebra Iriarte Foto en Rincon Caribeño

Cheo Navarro, Naty and El Maestro Enrique “Culebra” Iriarte Respected Masters and indisputable referents of the sound of Salsa and its history in Venezuela!!!!!

It has been for me immensely pleasing to share and receive with them this valuable recognition from SALSA SUPERIOR INTRNACIONAL!

Enrrique “Culebra” Iriarte, Alfredo “Guajeo” Naranjo, Dj. Augusto Felibertt, Elio Pacheco, Cheo “Bailatino” Navarro and Joseito Rodriguez 2nd Edition of the International Award 2022 by Richard Roman Director and Founder of Salsa Superior Miami.

Enrrique “Culebra” Iriarte, Alfredo “Guajeo” Naranjo, Dj. Augusto Felibertt, Elio Pacheco, Cheo “Bailatino” Navarro y Joseito Rodríguez 2da Edición de la entrega de Reconocimientos

Also Read: Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

Milonga’s contribution to Latin music in general

There are many Latin genres that have managed to find a place in the USA music scene thanks to the constancy of many of its great exponents, salsa being the genre we talk about the most. However, today we want to change the subject a little bit and analyze what is milonga and how popular it has become in recent years.

Malevo y su dama — Recreation of ”Malevo y Su Dama” in Buenos Aires, 1970

Definition of milonga

The milonga can be defined as a folkloric musical genre coming from the Rio de la Plata region, which is usually performed with a guitar accompaniment in 6/8 time. Usually, it is divided in two modalities that are the milonga campera (the genre in its purest form) and the city milonga (style subsequent to the milonga campera).

Etymology of ”milonga’’

Although the musical genre is known for being originally from Argentina, Uruguay and certain parts of Brazil, ”milonga” means ”word” in the Quimbundu language (a language of Angolan origin that corresponds in several expressions with Portuguese). It is important to mention that this is the language used by some tribes from Angola, which was a colony of Portugal, and that many of the slave population of those lands was transported to Brazil, Uruguay and Argentina.

According to information received from some scholars, after the defeat suffered by the Argentine founding father Juan Manuel de Rosas in Caseros at the hands of Entre Rios Governor Justo José de Urquiza, the Brazilian soldiers caught the porteños off guard while singing guajiras in mockery, at the same time that the porteños sang milongas.

In the ears of Brazilians, these songs sounded like gibberish they could not understand. In the end, as a result, the term had such an impact that locals began referring to their own creolized guajiras as milongas.

La milonga de buenos aires — Yanina Quiñones and Neri Piliu dancing “La milonga de Buenos Aires” at the 4th TangoLovers Festival 2018 in Athens, Greece

A little history of milonga

Milonga is known for its joy, speed and sensuality at the time of being performed by its dancers. Its binary rhythm is of great simplicity, so it is in stark contrast to the four beats of the guitar that gives the melody to the dance and is usually accompanied by lyrics occasionally.

It has always been closely related to paya and tango. In the case of paya, milonga used some of its elements specifically for the dance, while tango uses some details of the rhythm and the melody in milonga for its own dance. Today, the three genres are considered a very important part of the Rio de La Plata music scene and each of them has their own characteristics that distinguish one from another.

Milonga had much to do with the birth of tango, but at the same time, it evolved and maintained its independence. In fact, there is some sort of mix of the two called tango milonga that is almost extinct, although it is known that many musicians wanted to use it to give the rhythm of the tango more strength and sustainability.

As for the places where milonga could be danced, the genre used to be found in neighborhood clubs, dance halls, tearooms and boites. The music used was usually recorded, although the venue owners hired small bands occasionally to change the modality. The popularity of these groups was so great that several of their musicians managed to join highly recognized orchestras at the time.

Couples who went to milonga clubs to dance ballroom tango and outskirts tango. The first only consisted of beat and elegance, while the second had beat, elegance and figure. Among the most famous places to dance milonga that remain active to this today, we can mention El Barracas Central, Unidos en Pompeya, El Sunderland and many others.

Se dice de mi in milonga — Theddy Lizama and Pamela Ramos Aracena dancing ”Se dice de mí” in Santiago de Chile, November 2022. Source Fuente General de la Nación Argentina

Milonga at present

Today, milonga has become a genre of big importance for people eager to learn to dance things other than salsa, bachata or merengue. This genre offers them the opportunity to try something completely different thanks to which they can connect with others in ways they would not have imagined due to its peculiar rhythm and overflowing sensuality.

In addition to that, every day there are more and more events also called milongas, which consist of massive dances where couples show their best moves to the rhythm of various genres, such as milonga, tango, and vals criollo. In general, the scheduling of a milonga is divided into blocks of three, four or five dances that are separated by short pieces of light music. Apart from that, each block contains a sort of rhythm that is grouped by orchestra, singer or composer.

These events were very typical in Argentina, but have been gradually spreading throughout various parts of the world, including the United States. Nowadays, it is fairly common to find restaurants, night clubs and academies that offer this kind of entertainment to their attendees such as Alberto’s Night Club (San Francisco), The Tango Room (Los Angeles), Milonga La Paz Tango Club (San Francisco), Tango De Rey (San Diego), Tango La Nacional (New York), Fairmont Tango Club (Philadelphia), Dance Fire Studio (New York), and many more.