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The Legends: Tribute to Billo’s

North America / United States

Tribute to Billo’s. How was made?

Legends was conceived between April and September and it is already a reality! The album that is making people of all ages dance.

The record label JN Music Group is recognized for enhancing the work of Latinos in the United States. The company has 37 years of experience in the market and is chaired by Juan Hidalgo and Nelson Estévez, producers of Latin music in its different genres. Both have set themselves the goal of promoting other genres because “not everything is reggaeton”.

Adrián Frometa, grandson of the remembered Luis María Frometa “Billo’s”, is the new Director of the orchestra and was in charge of the negotiations around the album.

Great tropical artists participated in the tribute to Billo’s — Artists like Milly Quezada, Karina and Oscar D’León participated in the Billo’s album

“Los Legendarios” was conceived as a nice reminder of the musical career of maestro Luis Frometa. The proposal was born in these months of quarantine and the invited artists did not hesitate to participate. Different exponents of tropical music came together to enhance the work of the Dominican artist.

“For us as a record label it is an honor to make this tribute album that maestro Billos deserved it for a long time, the artists we have contacted are excited to participate in what we are sure will be the end of the year album”, commented Nelson Estévez owner by JN Music Group.

The project aroused great interest from fans around the world; and from now on it is considered the “album of the year”. A few days after its premiere, the views on YouTube have exceeded ten thousand visits. “Sigan bailando”, performed by Milly Quezada, reached forty thousand views.

Established artists such as Tito Rojas, Oscar D ’León, Wilfrido Vargas, Carlos Vives, Milly Quezada, Eddy Herrera, Karina, Alex Bueno, Charile Aponte, Sergio Vargas and Don Fulano; they were in charge of giving life to the remembered songs.

A closing of the year that arrives in style, under the musical production of Remil Cobi Renna and Victor Pabon.

“Tres Perlas”, performed by Carlos Vives, “De qué me sirve el cielo” by Karina, “El Brujo” by Don Fulano, “Por encima de todo” by Óscar D ‘León, “Sigan bailando” by Milly Quezada and “ Caminito De Guarenas” by Alex Bueno, are some of the video clips that are already on the different digital platforms. The cover is accompanied by an illustration by Luis Frometa and the interpreters.

The initiative took place during the long days of the global pandemic, where many artists and producers took the opportunity to exploit their creativity, generating new materials; and pleasantly surprising the fans. The album was recorded between Miami, New York, Colombia, the Dominican Republic and Puerto Rico.

“Tres Perlas” was very famous in 1971. In this case, Carlos Vives was in charge of bringing it to life. It is the beginning of a job well thought out and done with the heart. It has an animated audiovisual work where Vives and the remembered Frometa are observed. There are also three ladies, symbolizing “Santa Marta, Barranquilla and Cartagena”, present in the song.

Remembering the golden age

The singer is remembered for his great successes, as well as his great love for Colombia and Venezuela.

Luis María Frometa was the founder of Billo’s Caracas Boys and, for years, he remained at the helm. Starting in the 1960s, they became more famous in Colombia. He took part in family gatherings and renowned events.

Even Pablo Escobar himself, a remembered drug trafficker from that country, wanted to have him in some of his celebrations. In fact, he came up to thank her himself after he sang for his mother’s birthday. However, his children claim that he was not aware of who the hiring was for and if he had known, he would not have wanted to make an appearance.

The Billo’s also had the opportunity to appear at the Bogotá Modelo Prison, after Carlos Orjuela, Frometa’s friend, was confined in one of his cells. The singer did not hesitate to visit his friend. However, he did not allow it. He looked for excuses to prevent me from visiting that place. This was not an impediment for Frometa who ended up showing up at the facilities. For him, they too had the right to enjoy his music. Those who accompanied him affirmed that the energy was incredible and everyone enjoyed the presentation.

The group had great talents such as: Memo Morales, Cheo García, Felipe Pirela, Manolo Monterrey, José Luis Rodríguez, Rafa Galindo, Víctor Pérez and Nelson Henríquez.

Luis María Frometa Pereira, was born in the capital of the Dominican Republic, on November 15, 1915. He got his nickname for a phrase he used very frequently, he called any route that came his way Billo. He started in music from a very young age. Represented the Santo Domingo Symphony and the Firefighters Orchestra Band. So he walked through some small bands, until he reached his first big break. Venezuela was one of the first countries to receive him with open arms and where he was presented for the first time under the name “Billo’s’ happy boys ”´; ignoring the demand of Rafael Leonidas Trujillo, dictator who led his country.

Even when the band disintegrated, Frometa remained in Venezuela. Going through difficulties, economic downturns and a disease that took him away from the stage. However, he returned in style and was consolidated in the memory of those who enjoyed his songs. The contracts did not stop arriving and thus were the beginnings of a band that celebrates 80 years of musical trajectory.

A tribute to history

This is why this 2020 will be a celebration for the issues that moved masses and passed from generation to generation. “Legends” consists of twelve songs and ten originals by the group.

The idea is that Billo’s remains in the hearts of his fans. After 80 years since its creation and some 100 productions are still valid. His repertoire has always been the most varied; It ranges from boleros, guarachas, porros and Dominican merengue. Also, of Caribbean music.

Milly Quezada, a Dominican merenguera with a Colombian heart, was one of the special guests. In charge of interpreting “Sigan Bailando” and was very enthusiastic.

“What I consider to be one of the most contagious and joyful tropical songs that best defines the happy and fun spirit of Latin Americans and especially of us, the Caribbean, who carry the rhythm in our blood. Definitely, the greatest and most important contribution of the Billo’s Caracas Boys was the presentation, diffusion and positioning of the Dominican merengue, which he transmitted with such musical and literary quality, as well as other Caribbean genres that belong to all of us, ” said Quezada.

Carlos Vives also premiered his album song: “Tres Perlas”. He confessed himself a fan of the teacher Fometa and, for this, he is very excited.

“If there is a legendary orchestra, it is Billo’s. I want them to enjoy it, to mourn it, because I know that many will do it, and that the youth discover a great figure in music that is not only from Dominicans, Venezuelans and Colombians, but from all of America ”, said the artist through from your Twitter account. “Participating in this album is as if I had won a prize, I don’t know what, but I feel like a prize,” said Vives.

Legendarios is now available on different digital platforms under The Orchard Music label (on behalf of J&N Records, LLC). Do not miss it!

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Hanny the Voice of Cuba for the world

Leosbel Jiménez Licea is Hanny the Voice of Cuba

Born on July 8, 1972, Havana Cuba in the Vedado neighborhood. For the love of the songs I used to listen to on the radio at home, the love for music was born, especially for the guitar. That’s why since I was 4 years old all my toys were musical instruments, a drum set, drums, harmonicas, triolas, until I had a little toy guitar with which I used to invent concerts on the balcony of my house, the neighbors would pass by and laugh when they saw me so small believing me to be a star.

Leosbel Jiménez Licea Born on July 8, 1972, Havana Cuba in the Vedado neighborhood By the passion to the songs that I listened at home on the radio was born the love for music especially for the guitar, so since 4 years old all my toys were musical instruments, a battery, drums, harmonicas, triolas until I had a toy guitar with which I invented concerts on the balcony of the house, the neighbors passed and laughed to see me so small believing me a star Translated with www.DeepL.com/Translator (free version) — Leosbel Jiménez Licea

Hanny the Voice of Cuba

9 years old, I begin to study the basics of the guitar in the house of culture of the neighborhood at the same time that I was practicing fencing, at the age of 11 I won the national infantile championship of fencing earning me a scholarship to the school of sport incision (Eide) in the city of Havana, school from where many glories of the Olympic and world-wide sport of Cuba have come out.

14 years for disenchantment with the sport life I decide to leave the sport and to concentrate only in the music, in a self-taught way of course, there I begin to write my first songs that were poems that I was musicalizing at the time that I was learning new chords.

At the age of 19 I already had some songs that were sometimes played on some programs of the radio station in the province on the Havana City Radio.

So I was trolling the streets meeting many street artists until one day, an Englishman David Butlle, known as Mr. Bongo, arrived in Cuba in search of an orchestra to produce a record in Britain, a few days before leaving Cuba wanted to buy several albums of Cuban music from the 50s and did not know how to speak Spanish, my friend who passed by helped him with the translation into English, thanked him and told him who he was, my friend told him about my music, then we recorded a demo of 11 songs of my authorship then took them to London.

Between August and September of 1996, I was flying to London to record my first CD titled (Athe Voice of Cuba) production of 11 themes of my authorship and a danzón of the composer Niurka Díaz and Daniel Rodriguez, recorded with British, Cuban, Venezuelan, Colombian musicians all settled in London, my first recording work came out two themes that were in the French movie “Place Vomdome”, with the famous actress Catherine Deneuve, a British novel called Coronation Street, I also use my music, novels and series from Argentina, one called the Lola from Colombia and Israel, my first cd enjoyed good reviews in the best known and respected media especially in the UK opening the doors to the Royal Albert Hall, jazz cafe in London, the most prestigious jazz festivals and world music generally from the UK, as well as taking my music to all Europe, Colombia, Peru, etc, making for the success of the album concerts in Norway, Spain, Turkey, and Finland.

So I was trolling the streets meeting many street artists until one day an Englishman David Butlle known as (Mr. Bongo) arrives in Cuba looking for an orchestra to produce an album for him in Britain — The Troubadour Leosbel Jimenez Licea

In 1998 I recorded my second album produced by my company (Hanro Records) and this time we recorded between the laboratory of electroacoustic music of Cuba and London with the participation of musicians from the Orchestra of Elio Reve, Paublito fg and Irakere, plus some British and Latin musicians based in London, at the same time conducted and directed a radio program in Spectrum radio called Cannonazo in England. Then came a period of just a few acoustic concerts to prepare all the new songs that we will start recording at the end of the quarantine. In 2019, I did 6 concerts in Finland, 5 Acoustic and one with a band in one of the most prestigious halls of Helsinki, I did 5 concerts in Ecuador and one concert in Cali Colombia, now we were preparing a group of concerts in Colombia, Chile and Peru everything is stopped until normality arrives, with 3 albums ready to start recording little by little.

In 1998 I record my second album produced by my company (Hanro Records) and this time we recorded between the laboratory of electroacoustic music in Cuba and London with the participation of musicians from the Orchestra of Elio Reve, Paublito fg and Irakere — Hanny the Voice of Cuba for the world

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Orestes Vilató is one of the most influential figures in the world of Latin percussion

The Cuban multi-percussionist, Orestes Vilato, is undoubtedly one of the greatest figures in the history of Cuban drums known as timbales.

He is one of the most influential figures in the world of Latin percussion.

He was born on May 4, 1944 in Camagüey, Cuba, and currently resides in San Francisco, California in the United States.

He has worked with many of the best exponents of Cuban popular dance music and Latin jazz, from José Antonio Fajardo and Israel López (Cachao) to Rubén Blades and Carlos Santana.

He is one of the most influential figures in the world of Latin percussion. He was born on May 12, 1944 in Camagüey, Cuba, currently resides in San Francisco, California in the United States — Orestes Vilato is one of the most influential figures in the world of Latin percussion

During the 1950s, the Vilato family moved to New York, the world capital of salsa, where the young Orestes would rise to fame as an innovator of his beloved traditional instrument, “Los Timbales.

While living in New York City for 25 years, Orestes was intimately involved with many musical organizations that played key roles in shaping the course of Latin music around the world.

Among the many groups were: Fania All Starts (founding member), Ray Barretto, Tipica 73 (founding member), Los Kimbos (founder-director), Tito Puente, Johnny Pacheco, Cheo Feliciano, Ismael Rivera, Joe Cuba, Eddie Palmieri, Ruben Blades, La Lupe, Celia Cruz, Rolando La Serie, Chico O’Farril, Lionel Hampton, Los Chavales de España, Cal Tjader.

Other artists he has recorded or worked with include: Winton and Bradford Marsalis, Paco De Lucía, Whitney Houston, Linda Ronstadt, Aretha Franklin, Willie Nelson, Herbie Hancock, McCoy Tyner, Cachao, Andy García, Emilio Estefan, Gloria Estefan, Paquito de Rivera, Dave Valentín, Mongo Santamaría, Armando Peraza, John Santos, Rebeca Mauleon, Giovanni Hidalgo and Raúl Rekow.

In 1980 he moved from New York to San Francisco, California, where he worked with Armando Peraza, in the band of Chicano rocker Carlos Santana.

He later recorded with American jazzmen Bobby Hucherson and Buddy Montgomery, and with Cuban percussionist Luis Conte.

He also works with Jon Santos’ Batachanga Orchestra and Machete Ensemble.

In 1992 he recorded with Israel López (Cachao) as well as with Cuban percussionist José Luis Quintana (Changuito).

In 2009 he recorded his production entitled Orestes Vilató ?- Its About Time, with a repertoire in the style of Salsa, Latin Jazz, Descarga.

In 1981, Mr. Vilato moved to the San Francisco Bay Area, where he continues to reside with his family. From 1980 to 1989 he recorded and toured with Carlos Santana’s renowned band.

Orestes was nominated for a Grammy in 1995 (Latin Jazz category) for his CD, Ritmo y Candela con Patato y Changuito. In 2009 his solo CD Its About Time was nominated for a Latin Grammy.

Orestes has recorded several film soundtracks including Our Latin Thing, Mambo Kings, Carlito’s Way, Steal Big Steal Little, The Bird Cage, Dance With Me, Just A Ticket, Things To Do In Denver and The Lost City.

He has been a special guest artist at multiple jazz festivals around the country and in Puerto Rico, including the San Jose Jazz Festival. He has performed and taught at numerous music conservatories including the Berkeley School of Music, UCLA, the University of Fresno, Stanford University, as well as many conservatories abroad.

Orestes was honored at the Yerba Buena Garden, Monterey and San Francisco Jazz Festivals.

Orestes’ style is one of the most imitated and emulated among recording artists.

Orestes Vilató It's about time — Orestes Vilató It’s about Time

Credits
Acoustic Bass – Carlitos Puerto Jr.
Backing Vocals, Handclaps – James Zavaleta
Bass – René Camacho
Bongos, Cowbell – Johnny “Dandy” Rodriguez
Co-producer, Timbales, Bongos, Lead Vocals, Cowbell, Cajón, Guiro, Maracas, Claves, Handclaps, Backing Vocals, Music Director – Orestes Vilató
Congas – Joey De León
Engineer [Assistance] – Joshua Blanchard
Engineer, Mixed By – Jimmy Branly
Executive Producer – Camerina Campillo, Ralph Campillo
Flute, Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Justo Almario
Lead Vocals, Handclaps, Backing Vocals – Adonis Puentes
Mastered By – Peter Doell
Piano – Alberto Salas
Piano, Arranged By, Handclaps, Backing Vocals, Music Director – Rebeca Mauleón
Producer [Associate] – Manolo Santana
Tres, Acoustic Guitar – Ramón Stagnaro
Trumpet – Luis Eric González*, Sean Billings

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Tito Puente’s must-hear: Records you won’t be able to forget

North America / Unites States

The best and more emblematic Tito Puente’s records

Ernesto Antonio Puente, better known as Tito Puente, El Rey del Timbal, was a recognized percussionist in the music industry. He was born in Harlem, New York on April 20, 1923.

Those who knew him as a child considered him very active. He was always looking for objects to generate sounds and make noise. The New Yorker, of Puerto Rican parents, began his music studies too young. At an early age he learned to play percussion and piano.

He was heavily influenced by jazz artists and Gene Krupa, considered the most influential drummer of the 20th century. Puente participated in various local bands and was part of the Machito group; musician and singer of Cuban origin who contributed to the creation of Afro-Cuban jazz.

Remember the great percussionist — Tito Puente made history with his unique style

Their first steps

At the age of fifteen he made his debut in a Miami orchestra. He amazes everyone with his ability for Latin perc battledussions.
For seven years he studied piano and drums. He then attended the Juilliard School, a conservatory of the arts located in New York. His musical training was very solid, which led him to become a great figure of the genre.

It was part of the development of rhythms and fusions that led to the success of salsa. However, he wasn’t a big fan of that term. Although he was known as a “salsa ambassador”, when asked about it, he responded in a humorous way:

“Salsa is what I put in spaghetti. What I play is Cuban music”, he repeated over and over again, extolling the roots of Afro-Caribbean music.
In the 1940s, he decided to form his own band, the Picadilly Boys, specializing in Latin jazz. They received the support of Tico Records to make their first musical recording. His career was just beginning. At the end of the 50s, “Dance Manía”, one of the artist’s most popular albums, was released.

Puente walked among the mambo, bossa nova and Afro-Cuban jazz. In the 60s, he ventured into salsa, without leaving behind other rhythms that characterized him.

The timbalero did not hesitate to support talented young people, Sophy from Puerto Rico recorded his first productions under the recommendations of Puente. Puente was in charge of the production, arrangements and instruments. It was a pleasure for her to receive the affection that he gave her. He treated her like a daughter and learned a lot from him; Celia Cruz was another of the artists who had the honor of working with “El Maestro”.

The sound of their timpani was known worldwide. He recorded more than a hundred albums, received a star on the Hollywood Walk of Fame in 1969, as well as the key to New York City and different nominations: Grammy Award for artistic career, Grammy Hall of Fame Award, Latin Grammy Award for Best Salsa Album, Grammy Award for Best Traditional Tropical Latin Album, Latin Grammy Award for Best Traditional Tropical Album, Grammy Award for Best Salsa Album and Grammy Award for Best Latin Recording.

Throughout his career, he had the opportunity to work with several record labels including: Charly Records, BMG, RCA Victor, Fania Records, Sony Discos and Concord Picante.

Most recognized albums:

Dance Mania, 1978.

Dance Manía, 1958 was the artist’s first album. Considered the most famous percussionist. The study work, entered in 2002, in the National Recording Registry; list of recordings that are considered important and part of the culture and history of the United States. It is also found in the 1001 Albums You Must Hear Before You Die, a music reference book founded in 2005.

The history of Latin music in the United States took a cultural turn after the appearance of Dance Manía. It was recorded under the voice of the Puerto Rican Santos Colón, in Spanish. They were generally performed in the native language of the United States or only as instrumental music.

Tito Puente wanted to break down barriers and have the American public listen to the pieces in Spanish. The album is positioned as the most famous Latin album of all time, surpassing successful artists of the time like Héctor Lavoe and Celia Cruz.

Homenaje a Beny, 1978.
Tito Puente made history with this album, by obtaining his first Latin Grammy. It was the winning album for Best Latin Music Album. With the help of his orchestra, he created an unprecedented album, full of flavor; an album that highlighted Cuban origins and fusions. A heartfelt tribute to the remembered Benny Moré, Cuban singer and musician who died in 1963. “Homenaje a Beny” featured 17 pieces of music.

Tito Puente - Nobody will have his wonderful character — Tito Puente ‘s grimaces while performing

Cuba y Puerto Rico son…, 1966.
The career of the remembered Cuban singer Celia Cruz was on the rise. In 1966, Tito Puente decided to contact her to work together. They established a kind of association that was maintained through the years. In addition, they became very close friends, a bond that went beyond the musical realm.

Cruz appreciated him and was saddened after his death. In her autobiography “Celia, mi vida” she recalled the day she received the terrible news. She considered him an authority on Cuban music and admired his career.“Tito was always in charge of the arrangements, and he liked to work at dawn. We would go out to dinner, and when we returned, Tito would stay until four in the morning composing arrangements for what we were going to record the next day.

Although we were not very lucky with our recordings, Tito and I did very well with the tours. Together we travel to many countries. It was during those trips that we developed that great friendship that we had, ”said La Guarachera del Mundo.

In addition to “Cuba y Puerto Rico Son”, they recorded five more albums: Quimbo Quimbumbia (1969), Etc., Etc., Etc. (1970), Alma con alma (1971), En España (1971) and Algo especial para memoria (1972).

Timbalero Tropical (1998)
One of the last works of the artist and that featured fifteen songs. He worked hand in hand with the RCA label. The album stood out with works such as: El Timbal, Mi Guaguancó, Lo Dicen Todo, Mambo Macoco, Mambo and Preparen Candela. Topics that were very popular at the time and that today continue to sound at family gatherings. They are classic salseros that do not go out of style.

“Oye como va” was a song written by Puente in 1963. However, it was rock guitarist Carlos Santana who popularized it. The song went international and was positioned on the Billboard Hot 100, a list that ranks the best-selling hits in the United States. However, he was not the only one to cover it: Celia Cruz, rapper Gerardo Mejía, Bobby Hutcherson, Joe Cuba Sextette and Cheo Feliciano. When he presented the theme on stage he affectionately presented Santana as its author.

This 2020 marks the 20th anniversary of the physical disappearance of the great: Tito Puente. He passed away on May 31, 2000. His Caribbean flavor, his big smile and his white hair left a great void in the entertainment world. Puente left a great legacy. He contributed to the expansion of Latin music in the United States and served as a composer, percussionist, conductor, and performer.

His exaggerated grimaces, his style, energy, and his skill with the instrument earned him worldwide recognition. In addition to positioning him as an admirable figure among colleagues and young people who want to follow in his footsteps. Simply unforgettable!

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“Orquesta Bomplenea” with ISM

Meet the ” Orquesta Bomplenea “

Let’s start this month of November presenting a musical group that emerged in the year two thousand ( 2000 ), created with the sole purpose and intention of taking Puerto Rican culture to the top, it is nothing less than the “Orquesta Bomplenea”, who will be with us thanks to Mrs. Jimena Verano León from the company “Verano Producciones Latinoamérica” from Bogotá, Colombia; so that the public and fans of International Salsa Magazine can meet this great Latin music orchestra.

Mr. Gary Vera is the founder and member of the “ Orquesta Bomplenea ”, who has been an outstanding musician in the musical genre of Salsa, Merengue and Latin Jazz for about thirty-five (35) years, the past twenty (20) years in the genre of the Bomba (which is the first indigenous music of Puerto Rico, created in the sugar estates by slaves more than four hundred (400) years ago, where African slaves were brought to Puerto Rico by the Spanish and French in the year one thousand six hundred (1600)) and Plena (it is the native music of Puerto Rico, which has the history of miscegenation in the aforementioned country “the Puerto Rican culture”, its birth is located at the beginning of the twentieth century “XX ”). He has also traveled to Europe, the US (United States), and the Caribbean representing our music and culture.

They knew that the “Plena” together with the “Bomba”, the “Trova Jíbara” and the “Danza” make up the four pillars of indigenous Puerto Rican music. The purpose of the “Orquesta Bomplenea” is always to maintain the culture of its island (Puerto Rico), of the greatest possible interest to Puerto Ricans inside and outside of Puerto Rico.

Trying to reach the hearts of everyone with flavor around the world all tastes. With this assignment in mind, they have adopted a different style of playing the “Plena” (Puerto Rican popular dance and song that is characterized by its musical simplicity and the repetition of its phrases, especially the choirs).

The lyrics and the aggressiveness of the piano together with the combination of the vocal tone (timbre) give a salsa touch to our Plena, but without forgetting the most essential purpose of the composition, which is to transmit to its audience the “Bomba” and the “Plenas ” .

At the beginning of January 2000, Gary Vera organized the musical group Bomplenéa and made his first recording entitled “Ritmo Caliente”. The CD includes eight (8) musical themes. La Mulata, which is a mix of (Bomba – Sicá – Plenas), Jazz A La Bomplenéa is the alloy of (Plena – Latin Jazz), and María Rumbón, La Carta, El Meneíto, Ritmo Caliente, Remembering Papá, and Bells De Christmas (Plenas).

They recently started a new proposal that includes Salsa, Bomba and full songs. Some themes are: El Pan (Bomba), Mi Parranda (Christmas Sauce) and Déjate Amar (Sauce).

Dejate Amar new music - Bomplenea — Bomplenea Orquest

Members: Gary Vera – composition, drummer, congas, Güícharo and direction; José Cheo Arce – arrangement; Luis Discípulo Cuevas, Jan Meléndez – vocals; Carlene Vera and Jan Meléndez – backing vocals; Omar Maldonado – piano; Carlene Vera – flute; Tito Degracia – timbal and bongo; Coamito Martínez – trumpet; Toñito Vásquez – Trombone; Efraín Hernández – bass; Juan Rivera – piano; Celso José Clemente – percussion and minor percussion, recording director, timpani, tambourine; Rafael “Bodo” Torres – piano; Papo Clemente – congas; Cándido Reyes – güícharo; Luis Jungo Ortiz – bass and arrangements; Orlando Ortiz – members; Danny Fuentes – Trombone; Carlos Torres – bass; José Rodríguez – Trumpet; Doel González – vocals

For more information contact you through:

Facebook @ Bomplenea

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