Search Results for: Salsa music

Spanish Harlem Salsa Gallery and Latin music

The Spanish Harlem Salsa Gallery (https://salsagoogle.com/north-america/the-spaha-salsa-gallery-and-the-johnny-cruz-show-to-the-order-of-salsa/) is one of those places where every salsa lover in New York should visit since there is plenty to see here. This museum has all kinds of items donated by many renowned artists or relatives of some who had passed away. This collection of valuable possessions has resulted in a set of priceless objects that will bow anyone visiting the facilities of such a special institution out of water.

The Spanish Harlem Salsa Gallery, also known as Spaha Salsa Gallery, can be defined as an institution of a cultural nature whose main purpose is to serve as a reminder of how great our culture is, especially our music. Both residents and visitors of East Harlem, New York, can learn about the salsa genre and its roots as long as they desire. All thanks to a lot of tools, information and many initiatives with which those interested will know all kinds of interesting facts about salsa first hand.

Another of the great objectives pursued by this place is the quest for knowledge about Latin music and the artists involved to offer it to anyone who decides to visit its facilities. That is why both its president Johnny Cruz and the team that helps him have been responsible for creating an inclusive and diverse gallery in which you can appreciate how far Hispanic talent has come by the hand of its top stars.

 

Johnny Cruz and Rubio Boris presenting their show

Role of the Spaha Salsa Gallery in the dissemination of Latin culture

The role played by the Spaha Salsa Gallery in the dissemination of Latin culture is very important, since these institutions are the ones that manage to arouse the interest of the inhabitants of Harlem and other nearby sectors towards one of the most representative musical genres of Latinity. This has made many other cultural institutions to use this gallery in order to awaken a higher interest in its own activities, which shows extensive cooperation between those who seek to promote anything Latin-related at all costs.

Fortunately, our work is not that complicated to carry out because too many tourists visit New York every day and many of them know that this city was the birthplace of the biggest salsa movement in history, so they are always looking for cultural sports in which you can find information about this set of rhythms and how it emerges in the public arena.

Some instruments donated by La Sonora Ponceña

Who Johnny Cruz is

Johnny Cruz is the founder of the Spaha Salsa Gallery, but there are many other facets by which this talented Puerto Rican is known in the entertainment industry. Cruz is a famous musician and record producer who has worked and make friends with a wide number of artists from all genres, by providing him with the platform to create a true sanctuary for Latin music lovers.

One interesting fact about the museum is that it is located on the plot where a hardware business owned by Johnny’s father used to function, which was made into something completely different thanks to the genius of his son long after. Today, that place contains several of the most invaluable objects in the history of salsa and whose relationship with some of the greatest figures of the genre is legendary.

Link to the official website of the Spaha Salsa gallery: spahasalsagallery.com

By: Johnny Cruz correspondent of International Salsa Magazine in New York City, New York

A graduate of Berklee College of Music, with his college degree in hand, the young bassist returned home to make his homeland in salsa time.

Jesús Algarín is a Puerto Rican bassist who, at the age of 25, landed in the salsa scene to make music his life project.  The young musician already walks with a firm step accompanied by the forceful interpretation of his bass, leading his own orchestra with confidence.

From the time he was born, according to what his parents told him, they used to party, so it was not surprising that at the age of 8 he was already the one who was the one who was livening up the parrandas while playing the Puerto Rican cuatro.  Algarín, who was born and raised in the heart of Puerto Rico (Caguas), candidly tells us that as a child, he discovered through our very own parrandera tradition, that music -which he refers to as a wonderful art- had a healing and restorative power.

Well advised by the adults in his family, he recounts that his uncle explained to him early in his life that if he failed to ignite his audience at the Choliseo during a parranda, it would become more difficult for him. Once he understood the advice, he applied it to himself.  Today he concludes that it is necessary to dominate every stage, from a marquee to a public square, and to take it one step at a time.

Through Puerto Rican folk music, studying and interpreting the seis, the aguinaldo, the bomba, and the plena, he was entering into what without planning it became his life project.  Later, playing the Puerto Rican cuatro purely by ear, he was able to enter the “magical” world of music, as he himself describes it.

Already in the sixth grade of elementary school, he began his formal apprenticeship at the Escuela Libre de Música de Caguas.  Before that time, he played the cuatro but did not read music.  Once he learned to read music, he decided to continue growing musically in his instrument.

Six years later, in grade 12, about to finish high school, he took part in the camps that Berklee College of Music brings to Puerto Rico every year. He auditioned for the Puerto Rican cuatro.  However, at the time, he did not achieve his goal of positioning himself. Determined not to give up, the following year he returned to the Berklee camp but changed tactics. He showed up to the workshops with a bass because he understood that the cuatro was not a good fit.  When he filled out the registration form for the workshops, he reported that his bass playing was at the advanced level, even though he knew it wasn’t true.  This adolescent idea, which added a good deal of pressure and stress to his musical performance, helped him get into the ensembles he aspired to qualify for. Today he admits that at that time, which today seems far away, he could not handle the bass because, as an instrument, it was still unknown to him.

In any case, Algarín qualified because, as we know, you have to take your chances with life.  The rest is history. 

With the bass as his main instrument, Algarín got Berklee to give him a scholarship and after four years in Boston, Massachusetts he graduated with a degree in Music Business. In other words, he spent four years making music while learning to see music as a business.

The young bass player confesses that he had not planned to be a musician nor had he thought he would make a living from music.  He did not see music as a possibility, since although it was always an integral part of his life, music was a hobby or a way to serve God in the church.  And that’s what he limited himself to until he came to Berklee’s summer workshops.  Before that, he saw himself as a lawyer and when it was his turn to enter college, he initially enrolled at Ana G. Mendez University.  There he attempted to complete a bachelor’s degree in accounting. However, from the very first accounting class he knew that accounting was not for him.

Algarín capitalized on what he learned, and has been able to stick to music as a way of life; from a more realistic and less idealistic perspective. Of course, all without losing the artistic focus of musical interpretation.  Along with his musical training, he has been preparing himself in legal issues, maintaining business awareness, focusing on the protection of music and copyrights.  He has also been responsible for making other musicians aware of the importance of registering their music with the Library of Congress and thus making the most of their work.  There is no doubt that Algarín knows his worth as a musician and from his space he has decided to serve and guide his counterparts to protect their work.

Before entering the studio to record his project, Algarín had recorded with Manolito Rodríguez.  During his student years in Boston, he was a musician in the Eric German Orchestra, the orchestra that accompanies visiting solo singers in the New England area.

Today, his main instrument is the bass, double bass, baby base or electric bass.

The bassist, a native of Caguas and graduate of Berklee College of Music, class of 2020, returned to Puerto Rico to lead his own musical project.

Two years after Algarín’s return home, the orchestra is already promoting its first production entitled “Dímelo Algarín”, which is part of his project “Jesús Algarín”. The format of the base orchestra of the project is as follows: winds (trumpet, trombone and baritone saxophone), bass, piano, conga, timbal, bongo and bell; backing singers and choirs. This, his first production, contains 5 songs, with contemporary themes in its lyrics. This lyric, however, embraces the nostalgic sonority of the sextet, complementing some of the songs with the Cuban tres. The bassist leader of his project arranged and composed these 5 unreleased tracks, which are merged in a production for which Jesús Algarín is also responsible.

The production is available in digital format on all platforms. The promotional cut is Sigue tu camino performed by Ricardo Colón, who also sings in the Willie Rosario Orchestra. The other four tracks included in the production are:  Playita, Cadencia y sabor and La calle se prendió; performed by vocalist José Luis De Jesús and Caribeña, in the voice of Marisabel Vázquez Varela.

The recording studio musicians who participated in the production are from the Caribbean.  Puerto Ricans, Cubans and Venezuelans merge in a salsa embrace; as is to be expected.

Vocals: José Luis De Jesús, Ricardo Colón and Marisabel Vázquez Varela.

Backing vocals: Jorge Yadiel Santos, Carlos García, Ricardo Colón, José Luis De Jesús, Manolo Ruiz and Carloscar Cepero.

Bass: Jesús Algarín

Piano: Aníbal Cruz and Juan Rivera

Tres: Renesito Avich

Percussion: Miguel Martínez

Trumpets: Luis Arnaldo Ramos, Angel Segarra y Nicolás Benítez

Trombone: Johan Escalante y Carloscar Cepero

Baritone saxophone: Efraín Martínez

Cuatro: Jesús Algarín.

As the son of documentary filmmaker Juan Félix Algarín, Jesús considers himself blessed to have been mentored by a father with first-hand knowledge.  His father always instructed him to be aware of music as a business in the entertainment world. Jesus knows his worth and has kept himself informed as to the costs of production and is clear as to the rates of his work.  He identifies himself as a Puerto Rican and Caribbean musician. He is in every sense of the word, a music worker.

As it is, we are still in salsa.  Yes, salsa lives! The effort, discipline and talent -in that order- of this young bandleader attest to that. Congratulations, and may you continue to “catch the ride”.

For bookings, Ángel Ilarraza: 787-347-4662 or e-mail: [email protected]

While it is true that salsa is very much alive, it is also true that it has been enriched through fusions and transformations.  Of course, this is not the first time we see that the salsa sound is transformed to give way to increasingly daring musical themes.   

I’ve said it before and I’ll say it again: “I’m glad there are collaborations where the wallet of other sounds invests in producing music that I enjoy.  Note that the only music I enjoy with the passion I enjoy nothing else is salsa.  This salsa I’m talking about also includes fusions and other inventions, as long as I like them.”

Well, let’s get to the mambo….

During the “Tropical Music Festival” I was backstage and was able to share with the musicians before and after their performances.  That privilege gave me the opportunity to talk to them about their projects, among other things.  On a side note, Oria Rivera graciously let me know about the release that same day of Bobby Valentin’s latest single.  As soon as I got home I listened to the song via You Tube.

Once again, maestro Valentín delivers a very daring and innovative song. I know that “chinchas” are going to fall on me as usual; but without being repetitive, you know that I am one of those who believe that Valentin is never wrong. 

Let’s establish that boogaloo or bugaloo is a Latin music and dance genre that was popular in the United States in the 1960s. It originated in New York City, mainly among Hispanic and Latin American teenagers. The style was a fusion of popular African-American rhythm and blues (R&B), in turn combining soul music with mambo and son montuno.

In the 1950s and 1960s, African Americans in the United States listened to various styles of music, including jump blues, R&B and doo-wop. Latinos in New York City shared those tastes, but also listened to genres such as mambo and cha-cha-chá. There was a mix of Puerto Ricans, Cubans and African-Americans in clubs, whose groups tried to find common musical ground. In the end, boogaloo or bugaloo was the common musical ground, a fusion of many styles cooking American son montuno, guaguancó, guajira, guaracha, mambo, R&B and soul on the same stove.  That must have been the reason why the boogaloo or bugalú allowed Spanish and English on equal terms.

As you can see, fusions are not a recent fad.

Well then.  The time has come to tell you what my salsa ears have heard, since there will be those who say that this is not a salsa song.  Well, the truth of the matter is that it is not suitable for salseros without musical appreciation skills.

From the first bars of this song, Bobby Valentín’s musical arrangement highlights the bass, accompanied by trumpets and saxophones in an arrangement that sounds great.  In the first thirty seconds of the song you can appreciate the vocal part of the composer -Bobby Valentín- ultra well accompanied by his most recent acquisition for the front of his orchestra: Leró Martínez. And for the most skeptical, Bobby and Leró sing in impeccable English.

The song is perfect, since in three minutes it opens up a range of musical possibilities in “English without barriers”.  Despite the brevity of the song, it lacks nothing.  Nor does it feel or sound like musical creativity was curtailed by trying to shorten the time.  The track flows naturally from the prelude, to the mambo, to the closing. At one and a half minutes, the saxophones provide the melody and the trumpets the breaks.  At the fiftieth minute, the trumpets play challenging the rhythm section, formed by:  Victor Roque on the tumbadoras, Kevin Vega on the timbal and Javier Oquendo on the bongo. Ceferino Cabán’s piano complements the “king’s” bass in a masterful way.

Shortly after the second minute (2.19), Victor “Yuca” Maldonado’s baritone saxophone sets the stage for Julito Alvarado and Angie Machado’s trumpets to firmly establish their presence.  This second minute also highlights the dynamism of the trombone by Eliut Cintrón. Let’s not forget that the composer, arranger, producer and bassist of this song was a trumpet player in his beginnings. At exactly 2.40 the bass takes command of the orchestra with more forcefulness, melodically allying itself with the sound of the trumpets and saxophones. Well into the second minute (2.44) the electric guitar in command of Javier Perez begins a correspondence with the bass, which is maintained until the closing of the song.

As for the cover art, it features a childish Bobby Valentine dressed as a musical celebrity.  The boy wears dark pants and a white shirt with those stylish puffed sleeves that scream mambo.  The title letters, which read It’s Boogaloo time are superimposed over the child’s image.  The style of the yellow letters that inscribe the word Boogaloo over the image described above make me imagine letters in some liquid material. The composition of the artwork rests on a rather garish salmon-colored background. According to the credits, both the graphic design and art direction were created by Orialis Valentin. Brava!

If you are one of those who say you are tired of the same old same old, I challenge you to listen to this gem, just as I recommended El Twist a while back. 

Salsa lives! I hope I have dispelled your doubts, if you had any.  If you still have any doubts, I confirm that you are not ready for this salsa conversation.

Musical Director: Bobby Valentín

Audio Recording & Mixing: Play Bach Studio

Engineer Carlitos Velázquez and Ramón Martínez

Mastering: WAVEM Acoustic LLC; Eduardo Ramos

Producer: Bobby Valentín

© 2022, Bronco Records, Inc. (Artist: Bobby Valentín)

La Muñeca de La Salsa or La Chica del Bling

For the second time, we have here Puerto Rican artist Almodovar. She is a salsa singer and other genres, composer and dancer. Pleasure to meet you, Melina, how are you doing? Glad to have you here.

Thank you, Karina. Thank you for the time and I’m super pumped to be here with you for international salsa magazine (laughs).

Melina Almodóvar is a salsa singer, composer, and dancer

Why do they call you La Muñeca de la Salsa or La Chica del Bling?

La Chica del Bling comes from maestro Bobby Cruz, who did a song with me in 2016. We made a recording that was called Salsa Factory Bunch. He wrote that song specifically for me, which was called El Bling. That’s how he starts calling me La Chica del Bling and, as there are so many people who know the trajectory of Mr. Bobby Cruz, those who know that he wrote the song for me identify me as La Chica del Bling. That is something very special for me, since he is one of my salsa icons from day one.

In the case of La Muñeca de La Salsa, when I moved here to Miami, I was looking for a nickname similar to El Caballero de La Salsa or El Niño Bonito de La Salsa. Seeing how my name is like that of another renowned singer in Puerto Rico Melina Leon, I wanted to find another name that would identify me and noticed that many Latino men called me muñeca (doll in English). That’s how I came up with the name La Muñeca de La Salsa.

Your family has always been closely related to arts. Your father was a singer, your mother was a dancer and your grandmother was an artisan. What did you get from each of them?

That’s an excellent question. I’m often asked that, but not that way. My dad was a bolero singer and like ballads and old music like Camilo Sesto, and it was thanks to one of his songs that I was named Melina. He also liked Marco Antonio Muñiz and all the singers from that era. He would go to bars to sing until five in the morning and he used to take me to these gatherings in Puerto Rico. He always had his guitar in his car and was invited to parties to sing because he did it for free.

My mom was a flamenco dancer, she studied dance all her life and wanted me to dance too. So, she put me in jazz ballet classes since I was little. I studied with a lady whose name was Sophy Sanfiorenzo, who was also Chayanne, Ricky Martin, and Los Menudo’s teacher of that time. She was very well known in the city of Bayamón, Puerto Rico. Dancing was something secondary for me, but my mom wanted me to take it more seriously. At the end, we made a deal and agreed that I would study salsa and Caribbean dancing.

My grandmother always wanted me to be an artist and pushed me to be what I am today. She does a lot of crafts such as sculptures and paintings. I didn’t inherit those skills (laughs). My aunt is an architect and also paints very well, while another aunt is also very good with crafts. My family is very artistic and I followed that road.

Melina Almodóvar is very proud to be boricua

Her referents

I understand that your grandmother gave you some cassettes with songs by Celia Cruz and Rubén Blades, did these artists influence you or were there others?

My grandmother gave me a Rubén Blades CD and my aunt was the one who introduced me to salsa music thanks to her taste for this genre. Most of the family liked bohemian songs made by Pedro Flores, Rafael Hernández, Bobby Capó, Sylvia Rexach, among others. My grandmother and the rest of my relatives liked bolero a lot. In my case, I like bolero very much and I have done concerts dedicated to this genre, but what moves and motivates me is salsa.

You always listened to tropical music as a kid in Puerto Rico, but I understood that I was cut out to sing salsa when started studying it and understand it deeply. In high school, I came to sing pop, jazz, country, merengue, bachata and many other genres. However, salsa is what I like the most.

You described your move from Puerto Rico to Memphis as a culture shock. What was the most shocking thing about that time?

It’s one thing to move from Puerto Rico to Los Angeles or New York or Florida where there are a lot of Latinos. When I moved, I was very young and went to live in the southern United States, where they listen to country and blues. For me, the most shocking thing was the culture. In Puerto Rico, everyone talks on the front doors and there was a lot of closeness. When we moved to Tennessee, we didn’t know anyone, so we had to start creating a new life and finding our way in this new city.

Melina Almodóvar performing at North Beach Bandshell

You were part of Orquesta Caliente. According to many, that was the first successful Latin salsa orchestra in Memphis. What do you think was the formula for success of this orchestra?

It was a combination of many things because I have been part of many groups and tried to organize orchestras in different places. After that experience, I tried to start an orchestra in Nashville, Tennessee, for a while and tried to start another one in Atlanta, Georgia.

When I was 17 years old, I was called and asked if I knew how to sing salsa, to which I replied yes. That’s when i was given a cassette tape with several songs made by Tito Puente, Ruben Blades, Celia Cruz, among others. I went home and started writing the songs down letter by letter to learn them by heart and audition for the orchestra. That day, I realized that all the musicians were American and extremely talented. I was 17 years old at the time and had no idea who I was playing with, which led me to look up their histories and they were really well trained and talented. Almost all of them were professors at the University of Memphis at the time, but they wanted to form a salsa orchestra.

So, we started playing in different places. Given that there was no internet and no social media, we had to create our own flyers by hand, make copies, go to the houses and put up them there. The first day we played, not a lot of people showed up, but it was a good start for us. After three months, not one more body fitted there.

For me, it was a beautiful experience because we started playing everywhere and were at plenty of festivals in South Florida. We were so into what we were doing and all the members wanted the music to work out spectacularly, so we were united in a common objective. I think that was the key to our success.

Tell me about the Hollywood Salsa Fest

We have been doing this festival for about seven years now and it was a dream come true because I never thought there would be more than 10,000 people there for throughout the day. It is a culmination of all the work we have done since I came to Miami. It was a great achievement.

This Hollywood Salsa Fest of this year included Maestro Charlie Aponte, Timba Live, Salsa Ballet de Cali, Maestro Bobby Cruz, Tito Puente Junior and many others.

Melina Almodóvar next to Oscar D’ León