Search Results for: Salsa
Europe / April 2024
Here we have Brazilian bandleader and composer Paula Maya
Today we have an exclusive that makes us very happy, since it is a talented artist from a country we had never talked about in this section: Brazil. We are talking about none other than the award-winning bandleader, composer, pianist, keyboardist and singer Paula Maya, with whom we had the privilege to talk by Zoom.
Paula has a very interesting background, since she was born in the South Zone of Rio de Janeiro, the birthplace of the world famous bossa nova genre and the popular composer, pianist and singer Carlos Antonio ”Tom” Jobim. It is clar that this had much to do with artistic inclinations that the woman would show later in her life.
Under her belt, she has several nominations and awards she received thanks to her talent and effort of so many years as her nomination to the Focus Web News Brazilian International Press Awards in the category of Best Brazilian Musician living in the US, her nomination to the Austin Chronicle Music Awards in the category of Top Ten World Music Bands, Winner of the Seattle Weekly Awards in the category of Best Brazilian Composer, her nomination to the Seattle Hot Rocks TV Show Music Awards in the category of Best Female Singer, among others.
Here are the most important topics we touched with lovely Paula about her life and career.

Paula’s early interest in music
Paula first developed an interest in music when she was only four years old or even younger, as she had musical toys such as pianos or keyboards she used to play with all the time. To this it is added that her mother always listened to classical music, which she already found beautiful back then.
What is interest about his direct family is the fact that there were no musicians in it. In fact, her father was a lawyer and her mother was a dancer and yoga instructor, but a cousin of hers was a bandleader, composer and music teacher who traveled to the United States and developed quite a big reputation at the time, so he became an example for Paula, who would end up following in his footsteps in the future.
When she turned 10 years old, she began taking piano lessons, which was her first formal experience with music. Since then, she has continued to learn about a lot of instruments and areas related to this art, which she assures that it is so rich and diverse that you never stop learning new things.
Paula’s mentors in music
Paula has been very fortunate to be mentored by some of the most talented musical celebrities in Brazil and one of them was producer and percussionist Teo Lima, with whom she has continued to work on her latest album to the present. Paula met this Brazilian legend in Seattle, where she lived for 17 years, and music led them to form a great friendship that has lasted until today.
They had wanted to make an album together for many years and it has finally happened, which was a dream for Paula, as she grew up listening to his greatest hits and dreamed about one day meeting him. Not only did she meet him, but also she became his friend and worked with him.
Another name we can leave out is guitarist Baden Powell, whom Paula met in her early twenties and describes him as someone who supported her a great deal in her career and even came to her shows to watch her sing.
Another artist who was important in her training was Luizihno Eça, who was one of the greatest exponents of bossa nova at the time and a great reference for all musicians who wanted to follow in his footsteps.

Music theory and the Brazilian Conservatory of Music
Paula comments that, before entering the Brazilian Conservatory of Music, she had an excellent teacher who was a concert pianist of name Luis Magalhães, who taught her the best piano techniques that she uses today in her performances, meaning that she was admitted to the hous of studies with a solid foundation of knowledge that helped her a lot.
In addition to that, music theory has been very useful for Paula at the time of teaching her classes, since she is a music teacher and thinks that all this knowledge is fundamental for an artist’s education, since music is very logical and occasionally you must look for quick answers to certain situations that certainly require studying and academic training.
She also told us that she usually uses music theory when composing because of the theoretical part, but not always.
Paula as a bandleader, pianist, keyboardist and singer
When we asked Paula how she has developed and performed in all these areas of music, she laughs and says that this is just the beginning, as she is also in charge of producing, composing, recording her albums, running the business part, making booking arrangements, among other things. ”That’s the life of a musician nowadays, especially when you don’t have a machinery behind you to back you up” Paula said on this topic.
This means that, apart from all the musical knowledge Paula has, she also takes care of all the details regarding her work, but they do not have to do with her profession directly. She does not have a large team of assistants to back her up, so she manages everything related to her career herself.
Since there are so many things she should do, she has a calendar in which she arranges the day and time to do every activity and always follows it to the letter. The artist says that the hardest thing about this is finding the time to be inspired and compose, since so many occupations, sometimes, do not let her clear her mind. However, she has learned to take full advantage of those few spaces.

Paula’s role as a Grammy Award voting member
For some time, Paula was a Grammy Awards voting member in its version in English and Spanish, so we could not very well not ask her about this important issue.
She told us that, although it is true that she is no longer part of the committee responsible for voting, social networks and these new forms of communication have made things much easier, since judges and committee members have groups on Facebook, WhatsApp and other platforms where they can conduct the necessary discussions.
In her particular case, what she considered when the time comes to vote for a nominee was talent and how much she liked a type of performance, but all member had their own particular approach to choosing a specific artist.
Something that Paula definitely did not like was that the majority of votes to an artist did not necessarily reward talent, but rather the popularity of the moment and promotion. She thinks this is not entirely fair, since talent, music skills and preparation do not always go hand in hand with popularity, but she is also aware that the ”game” is as well and she had to adapt to it.
Paula Maya & Bosa Nova Plus
Paula says laughing that everybody in Seattle expected her to play bossa nova because she was Brazilian, but she refused to do so. Eventually, she ended up doing exactly what the public expected and started playing bossa nova when she moved to Austin, Texas.
The fact that this Texan city has so many residents and musicians from Brazilian descent living in Austin has been an advantage for this genre to continue to become more popular and this niche to develop more and more. This led her to meet the musicians who have accompanied her in the band, who also came from playing bossa nova and other genres during their respective careers.
Read also: The Conga Room closes its doors, but says goodbye in style
Latin America / April 2024
Cajiao, says he always had a taste for good music: the tangos and ballads of the 50s and 60s
Danilo Cajiao was born on February 9, 1969 in Cali Colombia son of Marina Munevar and Antonio Cajiao family with three siblings Walter, Patricia and Raul.
From my father I inherited the musical taste for Afro Antillean rhythms, we listened at home to the Sonora Matancera, Benny More, Arsenio, Daniel Santos and many more.

There was always a taste for good music: the tangos and ballads of the 50s and 60s.
When I was a student I participated in several music festivals at school and I was part of several dance and Andean music groups.
I always liked salsa and my favorite artist of the genre will always be Angel Canales.
After the appearance of the program “YO ME LLAMO” in Colombia I was motivated to start the process to achieve the perfect imitation of Angel Canales.
I began my presentations in small salsa bars with a dance floor and I did about 4 songs of Diferente, as I went along the character was being perfected and the public and the owners of the bars were asking for something more.
I then created “the Orchestra SON DE LA 8″ in 2013 with the purpose of making the accompaniment and mount all the music of the different Angel Canales.
The market was opening and the support of the salseros was very large, We have had much acceptance in the salsero environment in Colombia.
Participating in major events locally, nationally and internationally:
Leyendas Vivas De la Salsa in Medellin Colombia,
Salsa al Parque Cali, Salsa al Parque Bogotá, Homenaje a la Salsa, Tributo a los salseros and Noche Blanca.
I have alternated and shared stages with several national and international artists and orchestras.
Orquesta Brodway, Orquesta Colon, Nelson y sus Estrellas, Gran Combo de Puerto Rico, Henry Fiol, Adalberto Santiago, Luisito Carrión, Papo Cocote, Cano Estremera, Moncho Santana, Orquesta Zodiac, Luigui Texidor, Frankie Vásquez, Tony Molina, Orlando Marín, Orquesta la Inmensidad and Orquesta la 33.

International presentations:
Guayaquil Ecuador and Caracas Venezuela.
Endorsed and supported by the family of ANGEL CANALES and by him I have taken my tribute to the most recognized places and salsa clubs in Colombia.
Apart from accompanying the Diferente Angel Canales with the orchestra Son de la 8 we have made our own music always keeping the line of heavy salsa and with good taste.
Angel Luis Canales “El Diferente”.
There were nine record productions by Angel Canales between 1975 and 1987, twelve productive years.
By 1970 Angel Luis Canales had put his voice on an album by African-American pianist Mark Dimond, and five years later Dimond’s orchestra was renamed “Angel Canales y Sabor”.
The immense musical freedom of Ángel Luis Canales Canales has much to do with the determining influence exerted on him by Rafael Cortijo, Ismael Rivera and the irreverence of the Combo de Cortijo as a whole.
The difference was that those two masons did not have enough money to support their ideas economically (discographically speaking) while Canales had enough because of the money he earned from his profession as a jeweler and diamond cutter.
That’s why he didn’t lower his head to anyone, that’s why he didn’t give in to any advantageous record contracts and made his own record label, that’s why he never paid or bribed radio producers, and he dressed the way he wanted.
That’s why the conservative salseros kept a CIA-like eye on him. And Canales revolutionized everything in his path: from his clothing to his vocal and orchestral arrangements, his presentations and his choice of repertoire.
By 1970 Angel Luis Canales had put his voice on a record by the Afro-American pianist Mark Dimond, and five years later Dimond’s orchestra was renamed “Angel Canales y Sabor”, and with it he would make a mark like few others in the world of salsa, from his total independence, to the freedom for the musicians, his revolutionary shaved head, and a wardrobe that had nothing to do with the salseros, in addition to his voice, repertoire and arrangements. Ángel Canales recorded in 1979 the album “El sentimiento del latino en Nueva York”, and an exquisite version of “Dos Gardenias”, by Cuban composer Isolina Carrillo.
“El sentimiento del latino en Nueva York” was a clarinada similar to “Imágenes Latinas”, the song by Argentine Bernardo Palombo presented a year earlier by Conjunto Libre, in terms of its contents of denunciation and clamor for justice. “Es el sonido que el americano oye/ y no entiende” (It’s the sound that the American hears/ and doesn’t understand).
Musical childhood
Ángel Luis Canales was born on June 29, 1950 in Santurce, Puerto Rico, son of Ángel Luis Canales and Ana Ilda Canales.
At the age of 8 he was already in New York with his parents, who liked to listen to romantic music and also to Cortijo y su Combo.
The Puerto Rican country song was also among his favorites; it was the jíbara song of his people. In time Canales would indicate that Cortijo and Ismael were determining influences in his musical and social journey.
Much has been said that his current retirement is due to Parkinson’s disease, but Ángel Luis Canales is there, he attends private invitations of his friends and remains in the battle line of salsa and life. He is currently 73 years old.
In those years and in school he was more inclined to practical workshops than books and that is why he went to work, recommended by one of his teachers in a jewelry store where from being a messenger he would learn all the secrets of the art of cutting, polishing and mounting diamonds. He became a professional, solvent, and with an extraordinary clinical eye that would serve him a lot later.
Vista larga, his new friends did not speak Spanish, his native language, but fortunately Angel Luis had peers of his generation, and Latinos like the Lebron brothers and Willie Colon himself.
He also took a long view of his internship in the U.S. Army and later assimilated the new trends that emerged in the music being made in New York.
He started out firmly, as we have already mentioned, with pianist Mark Dimond (Markolino), who had been linked to Willie Colón. With Mark he added his voice to some of the songs on the album “Brujería” and later, with the departure of the pianist, the orchestra was renamed “Ángel Canales y Sabor”.
With this band he would record “Sabor” in 1975 and other albums until “El Sentimiento del latino en Nueva York” in 1979.
Two years before the recording of this album, in 1977 Angel Canales made his first visit to a Latin American country, Panama, and the reception he received was such that he would later write a song dedicated to that country.
The same happened during his visit to Venezuela on November 13 and 14, 1981, which became a musical commotion of great proportions at the Poliedro de Caracas.
Likewise in Colombia and Peru he felt the devotion of the public of those nations. Perhaps he did not know the scope of his work and the projection he already had.

Much has been said that his current retirement is due to Parkinson’s disease, but Angel Luis Canales is there, he attends private invitations of his friends and remains in the battle line of salsa and life. He is currently 73 years old.
Source: TeleSurTv