Search Results for: Salsa music

Mark Weinstein Flutist, composer and arranger

North America / United States / New York

With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn where he was raised.

Between then and age 14 when he started to play trombone in Erasmus Hall High School, he tried clarinet and drums. Playing his first professional gig on trombone at 15, he added string bass, a common double in NYC at that time.

Mark learned to play Latin bass from Salsa bandleader Larry Harlow. He experimented playing trombone with Harlow’s band and three years later, along with Barry Rogers, formed Eddie Palmieri’s first trombone section, changing the sound of salsa forever.

With his heart in jazz, Weinstein was a major contributor to the development of the salsa trombone playing and arranging. He extended jazz attitudes and techniques in his playing with salsa bands.

His arrangements broadened the harmonic base of salsa while introducing folkloric elements for authenticity and depth.

Flutist, composer and arranger, Mark Weinstein began his study of music at age six with piano lessons from the neighborhood teacher in Fort Green Projects in Brooklyn — Mark Weinstein Flutist, composer and arranger

The only horn in a Latin jazz quintet led by Larry Harlow in the jam session band at the Schenks Paramount Hotel in the Catskills

The only horn in a Latin jazz quintet led by Larry Harlow at the jam session band at Schenks Paramount Hotel in the Catskills, soloist and arranger with Charlie Palmieri in the first trumpet and trombone salsa band in NYC, arranger and featured soloist along with the great Cuban trumpet player Alfredo Chocolate Armenteros in Orchestra Harlow, and with the Panamanian giant Victer Paz in the La Playa Sextet, and with the Alegre All Stars, Mark’s playing and arranging was a major influence on Salsa trombone and brass writing in the 60s and 70s.

Mark Weinstein continued to record with Eddie Palmieri, with Cal Tjader and with Tito Puente. He toured with Herbie Mann for years, played with Maynard Ferguson, and the big bands of Joe Henderson, Clark Terry, Jones and Lewis, Lionel Hampton, Duke Pearson and Kenny Dorham. In 1967 he wrote and recorded the Afro-Cuban jazz album, Cuban Roots for the legendary salsa producer Al Santiago.

It revolutionized Latin jazz; combining authentic folkloric drum ensembles with harmonically complex extended jazz solos and arrangements. Chick Corea was on piano and the rhythm section included the finest and most knowledgeable Latin drummers: Julito Collazo, Tommy Lopez Sr. and Papaito (timbalero with La Sonora Matancera).

El único cuerno en un quinteto de jazz latino liderado por Larry Harlow en la banda de jam session del Hotel Schenks Paramount en los Catskills, solista y arreglista con Charlie Palmieri en la primera banda de salsa de trompeta y trombón en NYC, arreglista y solista junto con el gran trompetista cubano Alfredo Chocolate Armenteros en Orchestra Harlow, y con el gigante panameño Victer Paz en el Sexteto de la Playa, y con los Alegre All Stars, el hecho de que Mark tocara y arreglara fue una gran influencia en la escritura del trombón de salsa y los metales en los años 60 y 70.

Mark Weinstein continuó grabando con Eddie Palmieri, con Cal Tjader y con Tito Puente. Hizo giras con Herbie Mann durante años, tocó con Maynard Ferguson y con las grandes bandas de Joe Henderson, Clark Terry, Jones y Lewis, Lionel Hampton, Duke Pearson y Kenny Dorham. En 1967 escribió y grabó el álbum de jazz afrocubano Cuban Roots para el legendario productor de salsa Al Santiago.

Revolucionó el jazz latino, combinando auténticos conjuntos de tambores folclóricos con solos y arreglos de jazz extendido armónicamente complejos.

Chick Corea tocaba el piano y la sección rítmica incluía a los mejores y más conocedores bateristas latinos: Julito Collazo, Tommy López Sr. y Papaito (timbalero de la Sonora Matancera).

A principios de los 70 Mark se tomó un tiempo libre de la música para obtener un doctorado en filosofía con una especialización en lógica matemática.

Se convirtió en un profesor universitario y sigue siéndolo hasta el día de hoy. Cuando regresó a la escena musical en 1978 tocando la flauta, escribió produjo y grabó las Suites de los Orishas con la cantante Olympia Alfara, el gran pianista de jazz colombiano Eddy Martínez y los percusionistas Steve Berrios, Julito Collazo, Papaito y Papiro junto con un coro afrocubano. Inédito hasta hace poco, la música de las Suites de los Orishas se convirtió en el tema del Sunday Salsa Show de Roger Dawson en WRVR.

Mark Weinstein volvió al jazz con una venganza, trabajando en conciertos y grabando más de una docena de CDs desde 1997.

Seasoning, su primer CD de flauta experimentó con diferentes escenarios para la flauta, incluyendo un cuarteto con el vibrafonista Bryan Carrott y Cecil Brooks III en la batería y un trío de flauta y dos guitarras con Vic Juris y Rob Reich.

En 1998, Mark grabó Jazz World Trios con el maestro guitarrista brasileño Romero Lubambo y el premiado percusionista Cyro Baptista.

Su exploración de temas brasileños con guitarra clásica y percusión contrastaba con un trío de freebop con Santi Debriano en el bajo y Cindy Blackman en la batería.

Jean Paul Bourelly y Milton Cardone completaron el conjunto con música basada en temas de santería.

El lanzamiento de Three Deuces en 2000, emparejó a Mark con los guitarristas Vic Juris, Ed Cherry y Paul Meyers.

Mark continued to record with Eddie Palmieri, Cal Tjader and Tito Puente — With his heart in jazz, Weinstein contributed greatly to the development of the salsa trombone by playing and arranging – Mark Weinstein

Because of limited distribution and more demand that albums available, Mark rerecorded the material from the original Cuban Roots with new arrangements and the help of such giants of Cuban music as pianist Omar Sosa, percussionists Francisco Aquabella, Lazaro Galarraga, John Santos, Jose De Leon, and Nengue Hernandez. It was co-produced with his nephew, trombonist, violinist and arranger Dan Weinstein for Michael McFadin and CuBop Records.

In 2002 Mark had the incredible opportunity to go to Kiev, Ukraine, where his father was born, to record the music of the Ukrainian composer Alexey Kharchenko. Milling Time, the record that they made, stretched his playing in a number of directions, from modern classical music to smooth jazz to Ukrainian folk music.

He continued his exploration of his roots with a jazz album of Jewish music with Mike Richmond on bass, Brad Shepik on guitar and Jamey Haddad on drums and percussion.

He then turned to Brazil and the music of Hermeto Pascoal’s Calendario do Som, entitled Tudo de Bom with guitarist and vocalist Richard Boukas, Nilson Matta on bass, Paulo Braga on drums and Vanderlei Pereira on percussion.

In 2005 he began his ongoing association with Jazzheads record recording another version of Cuban Roots called Algo Más, with Jean Paul Bourelly playing electric guitar, Santi Debriano on bass, Thelonious Monk award winning percussionist and vocalist Pedrito Martinez, as well as Nani Santiago, Gene Golden and Skip Burney on congas and batá drums.

His next release on Jazzheads was O Nosso Amor with Brazilian jazz masters Romero Lubambo, Nilson Matta and Paulo Braga along with percussionists Guilherme Franco and Jorge Silva.

In the early 1970s Mark took time off from music to pursue a doctorate in philosophy with a specialization in mathematical logic. — Mark Weinstein He became a university professor and continues to be one to this day

This was followed by Con Alma, a Latin Jazz album featuring Mark Levine on piano, Santi Debriano on bass, Pedrito Martinez playing conga and drummer Mauricio Hererra.

Next a straight-ahead album, Straight No Chaser, with guitarist Dave Stryker, bassist Ron Howard and Victor Lewis on drums. A return to Brazilian music, Lua e Sol, saw Romero Lubambo and Nilson Mata joined by award winning percussionist Cyro Baptista

Mark Weinstein took time out from Jazzheads to record an album for Otá records in Berlin with Grammy nominated pianist Omar Sosa playing vibes, marimbas and piano along with Ali Keita on balafon, Mathais Ogbukoa and Aho Luc Nicaise on African percussion, bassist Stanislou Michalou and Marque Gilmore on drums. Back to Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, joined by Roman Diaz with the young giants Axel Laugart on piano and bassist Panagiotis Andreou. This was followed by Jazz Brasil with NEH Jazzmaster Kenny Barron on piano along with Nilson Matta and drummer Marcello Pellitteri.

His most recent album, El Cumbanchero was recorded with a string ensemble and arranged by Cuban piano virtuoso Aruán Ortiz, along with Yunior Terry on bass and percussionists Mauricio Herrera and Yusnier Bustamante.

Next up is an album of tangos with GRAMMY and Latin GRAMMY nominee, bassist Pablo Aslan, and featuring Latin GRAMMY winner Raul Jaurena playing the bandoneon, pianist Abel Rongatoni and guitarist Francisco Navarro. And many more surprises to come.

Mark took time from Jazzheads to record an album for Otá records in Berlin with Grammy-nominated pianist Omar Sosa — Back at Jazzheads, Mark recorded Timbasa with the percussion team of Pedrito Martinez and Mauricio Hererra, along with Roman Diaz with young giants Axel Laugart on piano and bassist Panagiotis Andreou

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Gerardo Rivas and solo single

“A derretir el hielo” is Gerardo Rivas’ first single

Puerto Rican Gerardo Rivas delights his followers with the launch of his first solo song. “A derretir el hielo” is a salsa, composed by Juan José Hernández and Victor Sanabria López, with musical production by Marcos Sánchez. A few weeks after its premiere, the video clip has almost thirty thousand views on YouTube. The work leads to mysticism and contains a refreshing proposal. The direction was the work of Giova González and was filmed in San Juan, Puerto Rico.

“Vamos a juntar los cuerpos bella, vamos a subir al cielo, vamos a prender la vela bella, vamos a derretir el hielo” the chorus quotes.

Gerardo is starting a new adventure

After more than a decade belonging to the group NG2, Puerto Rican salsa duo Rivas decided to try it on their own.

“With great humility I present my first solo work. All my life I have been involved in music and daring to do a solo project feels very good “, declared Rivas

The singer is the son of Jerry Rivas, who belongs to “El Gran Combo”. From a very young age he has been immersed in the musical world. He was the vocalist of the group “Gerardito y los rockolos”. In addition, it has around twenty-five years of experience.

Rivas has always been a believer in salsa, bets on it and defends it in each presentation. A faithful representative of the genre!

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Role of the Triangle Trade in the birth of Cuban rumba

What Cuban rumba is

As we all know, Latin music is a very diverse mix of a series of rhythms and musical styles from all over the world. What we know today as Latin music was the result of a whole concoction of historical facts that must come first in any story that seeks to explain the origins of any Latin rhythm that wants to be studied.

A good example of this that we have just said is the Cuban rumba, which is part of a set of cultural concepts that can be found in many parts of the world. There are certain musical rhythms that have allowed us to see that some seemingly alien places have made us discover each and every one of the common points they have, both historically and culturally.

How Cuban rumba starts

Cuban rumba and the Triangle Trade — Some people dancing rumba and and playing drums

One of the most important historical events that marked the birth of the Cuban rumba was the triangular trade carried out between Africa, America and Europe. This fact was the emergence of a large number of musical genres that were resulting from the mixture of rhythms and styles from all the aforementioned continents.

After the Discovery of America, Europe saw in the New World a useful territory for many of the economic activities that were not possible in their respective countries. In the case of labor, many African chiefdoms offered for sale to part of their inhabitants, something that was seen with very good eyes by the powerful Europeans of the time. This is how what historically would be known as triangular trade began.

This activity consisted of sending low-quality materials to be exchanged by African slaves to work with African and American resources in terrible living conditions. Once in America, some African ethnic groups were in charge of introducing the rumba in the Antilles, although the origins of the groups that brought these rhythms continue to be controversial among many scholars of the subject.

Although the slaves worked very hard during the day, they continued to practice their traditional rituals and rites at night. These practices were entirely based on their traditional music and religious customs to stay united with their Mother Earth despite the remoteness and the circumstances. Over time, these rites and percussion instruments were banned, so the new inhabitants of America had to adapt to the instruments allowed by the Spanish Crown. This made these sounds unknown to the Africans together with their forbidden dances in this land were merging until resulting in what we know today as rumba.

Rumba today

Cuban rumba and the role of the slaves — People dressed in white to enjoy Cuban Rumba on the streets

The characteristics of the rumba vary enormously from one place to another, since there are many variations and changes from one continent to another. In Africa, many see this genre as similar to zouk or benga, while Europeans refer to it as flamenco or Catalan rumba. There have been many artists who have taken on the task of making this genre their own and making it evolve to unsuspected levels to make it what it is today.

Today, we can appreciate a good number of subgenres that have their origin in the same parrones rhythms from which rumba derives in its different versions.

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Latin rhytms preferred by Europeans to learn to dance

A brief introduction about Latin music

In the last several years, Latin music has become a real phenomenon throughout much of the world, especially in Europe. Currently, Latin rhythms are heard in almost every corner of the Old Continent, which has been really beneficial for the great men of these musical styles, who have started their artistic careers in major cities of Europe.

After becoming an overwhelming success for this music in Latin America and the US, it gradually expanded throughout many European countries, in which Spanish and family languages have a strong presence. In these countries, the Latino community has been growing steadily, which has made locals take an interest in its culture and traditions, including music. There are many Europeans who want to learn how to dance many Latin rhythms, but there are some that distinguish themselves from others.

Salsa

Europeans love Latin music — A drum for Latin music

Among the many Latin rhythms that many Europeans wanted to learn how to dance, salsa can never be lacking. This is because this world-renowned musical genre is very sociable and entertaining, which few Europeans were accustomed to see in ages past. Salsa is commonly danced in Los Angeles and very present at all kinds of parties and amateur competitions, especially in Continental Europe. In that part of the continent, it is quite common to find dance academies that teach this specific style.

There are many European nations that organize dance championships in which salsa occupies a very special place.

Bachata

Another genre preferred by Europeans in order to learn how to dance is bachata, which is from the Dominican Republic and characterized by very slow and sensual movements on the part of the members of the couple. After all the success achieved by bachata artists, this genre has become one of the rhythms with the largest presence in European music festivals.

There is no denying that a set of soloists and groups have offered an unimaginable contribution to the expansion of bachata throughout the world, such as Juan Luis Guerra, Romeo Santos, Prince Royce, among others.

Tango

Europeans dancing Latin music — A young couple dancing Latin music

If there is a genre that cannot be out of any list of options to learn how to dance, it is Argentine tango. One of the reasons why this elegant and distinguished dance has had this incredible success in Europe and elsewhere in the world has been the huge presence it has had in numerous Hollywood films and the great interest which ballroom dances have awakened in countries like England.

It is anticipated that its popularity will increase and have as much presence as salsa and bachata in dance events throughout the Old Continent. It is not long before it does.

Rumba

One of the most interesting details of a genre like rumba is that it has undergone a great number of changes in the mists of time. This is due to its Cuban origin and its many fusions with certain Spanish and African rhythms, so no wonder the sympathy that many Europeans have for this colorful musical genre.

The ones greatly responsible for the expansion of rumba in Europe have been the dance masters who have devoted much of their work to the promotion of this and other rhythms from Latin America.

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“GOD LOVE UFO” is the new from Homero Gallardo

We present you Homero Gallardo’s new single

“GOD LOVE UFO” is what the great Ecuadorian guitarist and music producer, Homero Gallardo brings us to close the year with style. This single is produced by PC Records and distributed by Sony Music Entertainment.

The president of PC Records Hamilton Caucayo has expressed that Gallardo is The New Santana 2020. Because they consider the single as a masterpiece, and the best that Homero has done, since he was in charge of the lyrics, the music, arrangement, and production. This way the guitarist puts his touch and guitar on the current music, focusing on his projects.

“Immensely grateful to God and the entire team involved in the project! Without you it would not have been possible. I love you all very much”, Homero posted on his Instagram profile.

Homero Gallardo GOD LOVE UFO — Homero Gallardo is now presenting “GOD LOVE UFO”

MAFFIO is the multi-award winning artist and producer that Homero currently works with, to whom he entrusts all his projects, and both know how to work as a team to present the best of their talents. But he is not the only artist with whom Gallardo has worked, this great guitarist who comes from Ecuador, has managed to collaborate in many ways with artists such as: Maluma, Kymani Marley (Bob Marley’s son), Luis Miguel, Zion & Lennox, Yandel, Jencarlos Canela, NACHO, Nicky Jam, Manuel Turizo and many others. Not to mention that he has shared the stage with Marc Anthony, Puff Daddy and Jason Derulo.

A little about Homero’s trajectory

Homero Gallardo was born in Ecuador specifically in Guayaquil, from the age of 9 he showed love for music focusing on the classical genre, but three years later he was found performing professionally at festivals and activities in his hometown. His recognition as an artist was immediate, winning several contests at his school.

At just 16 years old, he managed to perform with renowned artists such as the Colombian Fonseca and the Venezuelan Jeremías. Then he decided to move to Miami in the United States to continue his studies in music, obtaining a scholarship with the Jazz Ensemble, that way Homero was in contact with Miami music scene which made him surround himself with Latin artists, and appearing with them in television, among those artists we can name: Thalia, Luis Fonsi, Chino & Nacho, and others.

In 2014, he was nominated for a Latin Grammy as a guitarist. Not only has he collaborated with many artists on stage, but he has done so much more behind the scenes as a producer and composer, as evidenced by his participation in the production and recordings for artists such as Periko and Jessi León.

With “GOD LOVE UFO” Gallardo wants to remain firm in the music scene, managing to conquer more audience simply by playing the chords of a guitar, that manages to make more than one fall in love, that is why he won the title of the New Santana.

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