Search Results for: Salsa

Berklee Online: The Best Option for Learning Music Online

According to many of the artists we have had the honor of interviewing in this section, one of the most important things to succeed in the world of music is education and academic preparation. Fortunately, the United States is full of academic institutions offering all kinds of degrees, courses and diplomas to contribute to knowledge base artists use for their work. One such institution is Berklee College of Music.

Berklee College of Music is one of the leading music institutes in the state of Massachusetts and offers all kinds of academic degrees related to this important branch of the arts on its campuses in Boston, New York and Valencia, Spain. Its biggest focus is developing the potential of its students in areas like music, dance and theater.

In this prestigious institution, students have the opportunity to experience every aspect of the music industry through an interdisciplinary curriculum. On its website, those interested can see everything that is offered such as undergraduate, graduate, summer programs and online courses.

In addition, Berklee has made available to its applicants the possibility of studying in an online mode through its Berklee Online initiative.

Berklee Online

Berklee Online is an initiative by Berklee College of Music created in 2002 with a view to allowing aspiring musicians and established artists to pursue economic and high-quality degrees and educational programs from anywhere in the world.

Berklee students will be able to develop and improve all of their artistic skills through online certificate programs, award-winning courses, and undergraduate programs.

An important thing to note is that online students will be able to learn from the same professors from the physical campus, so at no time will there be any decrease in the quality of teaching compared to face-to-face classes. We are talking about the best professionals in each of their areas who have taught classes to numerous artists and have been part of national and international award-winning projects. Likewise, many of the graduates of this institution have won Grammys and other awards of this kind.

According to figures handled by the college, Berklee Online has students from around 140 countries and very diverse academic and work backgrounds, but with the same desire to learn and absorb the best from their instructors.

Another benefit offered by Berklee is the assignment of an academic advisor to students in order to support them in achieving their goals and help them in everything they need to make their experience the best it can be.

And for those who are not particularly interested in enrolling in a paid course, they can also opt for free resources to complement the activities they are carrying out. Among these resources, we can mention free sample lessons, degree handbooks, online course catalogs, news and exclusive content.

Once on the page online.berklee.edu, whoever wishes to have access to all this material must sign up and create an account by typing the data required by the page in order to get access to the content.

Graduation from Berklee College of Music at the Hynes Convention Center

Berklee Graduate Artists

Berklee College of Music has been the home of many renowned artists who have been able to learn much of what they know today in its facilities.

In this same section, we have spoken with renowned musicians who attended this college, which has greatly contributed to the training that has allowed them to get to where they are today.

One of them is Venezuelan percussionist and musician Omar Ledezma Jr., who received a scholarship to study in this institution and, at that moment, he told us that he applied for the scholarship and managed to pass the audition required to enter the school. A month later, he was informed that he had been admitted to Berklee through a letter and, in his own words, it was one of the most important news in his life.

Today, Ledezma has an important participation in groups such as Pacific Mambo Orchestra with which he has played in major festivals such as Tempo Latino in several of its editions. He is also teaching at the SF Community Center where he shares his knowledge with other young people who want to follow the same path.

Another fitting case to mention is that of Puerto Rican arranger, composer and sound engineer Felix O. Rodriguez, who studied production, mixing and remastering at Berklee College of Music to prepare his return to the stage since leaving the music for an extended period of time. After that, he started his solo career with all the irons and released his first studio album. Having developed in the aforementioned areas, he has much more control over his work and has no need to hire as many people to record his music.

While it is true that these artists attended face-to-face classes, their professors and content were the same for online classes, so students enrolled in the online mode can enjoy the same benefits and the same learning without any problem.

Omar Ledezma, a graduate from Berklee — Venezuelan percussionist and musician Omar Ledezma Jr., a graduate from Berklee College of Music

Samuel Quinto Feitosa is a Brazilian virtuoso jazz and classical pianist

Samuel Quinto Feitosa, FRSA (born September 5, 1973) is a Brazilian jazz, pop, gospel and classical pianist, as well as music producer, composer, arranger, educator and writer living in Portugal since 2004.

Quinto grew up in Salvador, where he developed his art mainly with the piano. Samuel Quinto was born in Belém, Pará, but grew up in Salvador, Bahia.

Samuel Quinto Feitosa is a Brazilian virtuoso jazz and classical pianist.

Since the age of seven, he developed his musical talent by virtue of the contact with the piano through the gospel, accompanied by the Baptist Church that he studied during his childhood with his family in Salvador.

Then Samuel took the first steps on the piano in the family home, always without accompanying teachers, and developed his piano skills learning also, as self-taught, harmony, reading and writing music and orchestration, musical composition, arrangements for the church choir, which begins to play as a pianist at the age of 12 years. In Europe.

Samuel Quinto released his first CD “Latin Jazz Thrill” in 2007, in Portugal, with trio formation (Bass, Piano and Drums), which formed the core of his repertoire in various festivals and concerts during the years 2007 and 2008 in Portugal.

During his 2008 tour he performed in cities such as Hamburg, Berlin, Cologne, Heilbronn, Liège and Limoges; in addition to a special concert held in Salvador in collaboration with the Catholic University of Salvador in June 2008. His compositions are used at the University of Porto (ESMAE) in the Jazz degree, as study material in the training of Jazz students.

The second CD entitled “Salsa ‘n Jazz”, containing eight original compositions by Samuel Quinto, and the standard Stella by Starlight, is released in June 2009 with a concert in the city of Porto, and the concomitant launch of his new tour.

Samuel Quinto Trío Salsa'N Jazz (2009) — Samuel Quinto Trío Salsa’N Jazz (2009)

Even more extensive, which passed through Belgium, Germany, Portugal, Spain, France, Luxembourg, Netherlands and England. In this second work, Samuel was accompanied by another Brazilian, classically trained, Marcos Borges on bass and Manuel Santiesteban, Cuban, graduated in drums in Havana, Cuba.

He founded the first Latin Jazz course at the North Jazz School, Porto – first professional Jazz school accredited in Portugal and one in the Iberian Peninsula to have the Professional Jazz Instrumentalist course until then.

Besides being invited to be the artistic director of one of the most traditional Portuguese jazz clubs, Si bemol.

Samuel has also been invited to conduct workshops in the field of Jazz, Latin Jazz Composition and Arranging both in Brazil and Europe. But his musical talent is not only to jazz, after having been a pianist of the corps de ballet, he began to develop the scholar side of his music.

Inspired by great composers such as Beethoven, Mozart, Bach, Tchaikovsky, Brahms and others, he began compositions to accompany ballet in performances, as well as for orchestra and choir. _ (allaboutjazz)

There is something about Brazilian-born pianist Samuel Quinto that strikes a vibrant chord in the inner ear. Perhaps it has to do with his wonderful grasp of the joy that abounds in the Brazilian northeast.

His sense of “joy”. Perhaps it also has to do with his mature approach, his wonderful use of dynamics, his expression and his innate ability to allow the tonal center of his music to shine.

He has an exquisite ear and his hands are independently controlled by his mind, which separates melody and harmony when necessary.

Quinto, as a result, makes his fingers tingle on the keys, rumble and guffaw and cry with chords from which he wrings laughter and sadness and pure joy.

In Salsa’ N Jazz he plays with a primal hypnotic rhythm that calls to the roots of his music, which reach all the way to deepest Africa, through the folk corners of Brazil and Spain, which means the Mediterranean nooks and crannies of the Middle East, India and Europe.

Samuel Quinto Feitosa is a virtuoso pianist.

The result is a discotheque where these cultures converge in a point of ignition that warms the blood of the soul. His playing is muscular and intuitive and smacks of an artist who likes to invent on the fly, to constantly evolve.

The starting point of Quinto’s playing is also a deeply symbiotic relationship with forro music in all its vibrant splendor-baiao, xote and arrasta-pe-all elegantly captured and sparkling as his fingers touch ebony and ivory.

The most joyous and memorable display of this is her rendition of Victor Young’s “Stella by Starlight,” which gets a rousing liner treatment and reaches its climax as the song’s choruses unfold.

It is worth mentioning that on this song – as on the others on this album – Brazilian bassist Marcos Borges and Cuban drummer Manuel Santiesteban shine with their wonderful interplay.

Samuel Quinto is also an accomplished composer and demonstrates maturity and a sense of adventure with the rhythmic variety he presents here in a rumba, “Quinto’s Rhumba” which, by the way, is played in a deliciously choppy style reminiscent of Thelonious Monk.

“Jaci” is an exciting, danceable song that crosses Cuban rhythms with a touch of Brazil.

“Bolero To Preta,” an affectionate semblance of the pianist’s mother, suggests that the pianist has a lot of inner clave.

“Ficou No Meio” is simply a marvelous forro that becomes dizzying as Quinto, Borges and Santiesteban gloriously rumba in harmony and rhythm.

Santiesteban gloriously ruminate the harmony and rhythm.

“Voo Da Andorinha” is a chorinho that, quite simply, reveals Quinto’s “Alma de Nordeste”. And “Isabel (Para Voce)” is a beautiful ballad that shimmers and shines as its emotive tonal colors begin to unfold.

“Salsa’ N Jazz” is an emblematic song that captures everything unforgettable about this album: a pianist with the ability to dazzle in silence while the right hand flies exotically and the left constantly invents harmony and rhythm.

Here is a very promising pianist, who brings with him his rich Brazilian tradition and, indeed, all of Latin America, a new and exciting musical landscape. _

Raul D’Gama Rose

Samuel Quinto Trio – Salsa’N Jazz (2009).

Musicians:

Samuel Quinto (Piano)

Marcos Borges (Bass)

Manuel Santiesteban (Drums)

Information provided (September 16, 2023)

Samuel Quinto

Samuel Quinto Feitosa (Neuroscientist and Musician)

Orquesta la Identidad is one of the most nationally and internationally recognized groups in the salsa genre

Luis “Perico” Ortiz: six decades of impeccable musical trajectory

The lobby of the Centro de Bellas Artes in Caguas served as a prelude to the concert, entitled Tocando y contando historias (Playing and telling stories), for which we came to enjoy “Perico” and his guests. Mario Ortiz, Jr. brought together a dozen trumpet players (Luis Figueroa, Richie Segarra, Roby Texeira, Rafael Lebrón, Kevin Ibáñez, Ricardo Marrero, Kenneth Torres, Rubén Días, Ricky Zayas and Simón Rivera) to pay tribute to Luis “Perico” Ortiz by performing his most emblematic solo: ‘Coro Miyare’.

Luis "Perico" Ortiz and his Orchestra — Luis “Perico” Ortiz and his Orchestra

Once in the concert hall, the child trumpeter Daniel Torres (whom Perico predicted would be his successor) and Luis “Perico” Ortiz kicked off the concert with a fun trumpet correspondence. The musicians, turned into actors, shared with us the scene in which we saw Luis “Luisín” Ortiz as a child, playing ‘Quítate de la vía Perico’ with his trumpet; introduction that gave way to the custodian of Ismael Rivera’s legacy (“Moncho” Rivera) to sing the emblematic theme to which “Perico” owes his nickname, while the audience enjoyed images of “Maelo” on a giant screen. The short film defined how “El Sonero Mayor”, personified by “Moncho” told “Luisín”, that from that moment on he would be called “Perico”.

Moncho also interpreted ‘Bilongo’, a song in which Richard Carrasco stood out on the bongo after the saxophones made themselves felt with forcefulness. “Perico” also claimed his turn with the trumpet solo that preceded a resounding “Buenas noches” in the voice of the virtuoso trumpet player.

The orchestra was integrated by: Luis “Perico” Ortiz on musical direction; Yturvides Vilchez, Jan Duclerc and Rolando Alejandro Lora on trumpets; Rafy Torres, Jorge Díaz, Randy A. Román, Mario Alonso Ángel Marulanda on trombones; Roberto Calderón on baritone saxophone, Luis Daniel Valentín Muñiz on tenor saxophone; Antonio Luis Orta and Luis Fernando Hernández on alto saxophones; David Marcano on timbales; Gadwin Vargas Vélez on congas; Richard Carrasco Ayala on bongo; Juan Manuel Rivera Colón on piano; Carlos Luis Martínez Peña on bass; Henry Santiago and David Carrero on backing vocals.

Then, Henry Santiago received the microphone to sing ‘Tres grandes amigos’. For the song, which refers to Tito Rodríguez, Tito Puente, and Machito; “Perico” introduced “Manolito” Rodríguez and Arianelys Ortiz Cruz, a blind autistic timbalera player.

He was followed by Norberto Vélez, who performed ‘Julián Del Valle’ (1978, Súper salsa) and ‘De patitas’ (1979, Luis “Perico” Ortiz, One of a kind) – songs of great vocal and interpretative difficulty, popularized by the unmistakable voice of Rafael De Jesús – with his usual sympathy. Nor-Bert once again demonstrated his powerful voice, and was matched by the saxophones, whose forcefulness did not diminish the power of Vélez’s voice.

“La India” arrived with her usual energy to interpret ‘Químbara’ and “Manolito” did his part singing ‘La Reina es la rumba’, in company of “La India”, alternating on the soneos.

Coro Miyare” made use of Richard Carrasco’s unbeatable performance in the bongo solo with drumsticks -which had been popularized by Roberto Roena-, followed by the crushing solo by “Perico”, the piano solo by Juan Rivera, the conga solo by Gadwin Vargas and the timbales solo by David Marcano.

Richard Carrasco Ayala en el bongó y Luis “Perico” Ortiz

The highlight of the concert was Gilberto Santa Rosa’s brilliant renditions of ‘Atrevida’ and ‘Planté bandera’; recorded and immortalized by Tommy Olivencia’s La Primerísima, to which Santa Rosa briefly belonged.

After the intermission, as a tribute to the “Niño bonito de la salsa”, “Perico” invited Tony Vega to the stage to perform ‘Así se compone un son’ and ‘Borinquen tiene montuno’, the latter adorned with an elaborate trumpet solo by “Perico”.

“Perico” brought Gerardo Rivas to the stage to perform ‘Río abajo va’ (1985, La vida en broma), popularized in the voice of Domingo Quiñones. Gerardo explained that he had accepted the invitation to participate in the concert without knowing which song he was going to sing, in a clear allusion to the vocal difficulty of reaching Domingo’s vocal register. Gadwin Vargas sprinkled the theme with a conga solo with a mozambique beat, very well achieved. Gerardo’s second song, ‘Perico lo tiene’, brought to the stage the cacique of the Rivas dynasty (“Jerry” Rivas, singer of El Gran Combo de Puerto Rico) on the tres and Richie Bastar (bongos player of La Universidad de la Salsa). While Bastar took over on the bongo and the bell, Richard Carrasco took over the güiro. At the end of the intervention, “Jerry” asked for a round of applause for the mulato mayor, Don Rafael Ithier, who was enjoying the concert with all of us who were there.

Then, “Perico” dedicated ‘Perfume de gardenias’ to his mother; a speech that was enjoyed with an instrumental prelude performed by “Perico” and a great vocalization by “El Caballero de la Salsa”.

Next up was Rubén “Panamá” Blades, who received a standing ovation from the audience. This made visibility difficult, although it did not affect our enjoyment of the audio. Blades was in charge of the big hits ‘Plástico’ and ‘Pedro Navaja’ (1978, Siembra). During ‘Pedro Navaja’ Gadwin Vargas replicated the conga sound that Eddie Montalvo immortalized on the recording.

The stage was full when all the guests arrived to perform ‘Como vivo yo’, after Perico announced with a trumpet solo the song that would end the show.

As Luis “Perico” Ortiz said, the vote of love and confidence that we witnessed there will be remembered as an unrepeatable evening, which detailed what has been six decades of impeccable career that the trumpeter, composer, arranger and music producer has achieved.

Luis “Perico” Ortiz y Gilberto SantaRosa

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La Puertorriqueña de Don Perignon presents her new recording work

Demostrando in time

With great enthusiasm, La Puertorriqueña de “Don Perignon” announces the release of its most transcendental recording production, entitled Demostrando a tiempo.

La Puertorriqueña de Don Perignon presents her new recording work

This release is a testament to more than forty-five years dedicated to music by the orchestra’s leader, Pedro Morales Cortijo, known artistically as “Don Perignon”. After overcoming health challenges,

“Don Perignon“, with renewed vigor, turns his attention to what he calls “an unprecedented chapter for the orchestra”.

And what better way to kick off this new phase than with the release of the album? Demostrando a tiempo, a title derived from Moncho Rivera’s composition arranged by Carlos García, adds a historical and significant nuance to the recording.

“Don Perignon” highlights the importance of paying tribute to the pioneers of Puerto Rican popular music, Ismael Rivera and Rafael Cortijo, underlining the crucial influence they had on the musical movement to which their group belongs:

“Moncho represents Ismael Rivera and I represent Rafael Cortijo. They (Cortijo and Rivera) were the ones who created what we do, that’s why we decided to pay tribute to these two greats of our music”.

The album opens with a composition by Sammy Ayala, entitled ‘Dilo tú’, previously recorded by Rafael Cortijo’s Combo. This song, on this occasion, includes an exquisite timbal solo by Perignon.

This, which is La Puertorriqueña’s thirteenth production, rescues two jewels of the prolific composer Catalino “Tite” Curet Alonso.

The first, ‘Aquí estoy con mi son’, was first recorded in 1991 by singer Frankie Hernández under the production of Bobby Valentín. The second, ‘Soy tu ley’, was initially recorded in bolero time by Cheo Feliciano, the so-called “Señor sentimiento”. For this occasion, the skillful musical arrangement -in salsa key- by Ramón Sánchez gives the song a fascinating nuance, by integrating it with the distinctive sonority of the orchestra.

Pedro Luis Morales Cortijo, is the first name of the Puerto Rican timbalero and musical director

It should be noted that ‘Soy tu ley’ was destined to be part of the album Música Maestro (2014), but like fine wines, it waited patiently until it reached its optimum point to be released.

Highlighting the musical diversity, the album includes ‘A quién iré’, a composition by singer-songwriter Héctor Olmo, which at Perignon’s request, seeks to express gratitude to God for all that He has given him, including what the orchestra leader calls “a new opportunity in life”.

“I have my way of thanking God, but not through a message as fine as that,” says the director of La Puertorriqueña, considering that the song written by Olmo came to answer questions about everything he has achieved musically, despite the many obstacles that have come his way. ‘A quién iré’ features the arrangement by Juan C. Cardona, the vocal participation of Alex D’ Castro and the creation of the chorus by “Don Perignon” himself.

Demostrando a tiempo includes the songs: ‘Sácala a bailar’ (composition and vocals by José Karlo Ribot, with a tasty arrangement by Andy Guzmán who incorporates a forceful piano solo); ‘Sin brújula’ (lyrics by Harold Aguirre, musical arrangement by Ramón Sánchez, sung by Joe González); ‘La clave me lleva’, ‘Como si me amaras’ and ‘Afinque, cadencia y sabor’ (title that lists the distinctive adjectives of La Puertorriqueña).

Demostrando a tiempo reflects the dedication and unparalleled talent of “Don Perignon” and La Puertorriqueña.

Through a careful fusion of tradition and innovation showcased in the repertoire, this album represents the invaluable contribution of the orchestra, captivating dancers around the world with its vibrant and distinctive sound.

La Puertorriqueña de “Don Perignon” invites the public to immerse themselves in this unique musical experience and enjoy Demostrando a tiempo, available on digital platforms and select music stores.

Don’t miss the opportunity to experience the magic of Demostrando on time. Join us on this exciting musical journey.

About Don Perignon:

Pedro Luis Morales Cortijo, is the first name of the Puerto Rican timbalero and musical director known internationally as “Don Perignon,” whose musical career began in 1974.

“Don Perignon” comes from a family with a long musical tradition, which includes his cousin, Rafael Cortijo.

After having stood out as musical director for singers Andy Montañez and Lalo Rodríguez, in 1989. “Don Perignon” released his first production La buena vida, which featured the participation of Victor Manuelle. This album was followed by Festival de soneros (1990) and Subiendo (1992).

In his career “Don Perignon” with his orchestra, La Puertorriqueña, has released thirteen recordings, in which figures such as Gilberto Santa Rosa, Víctor Manuelle, Luisito Carrión, Oswaldo Román, Pedro Brull, Josué Rosado, Rico Walker, José Alberto “El Canario” and Hermán Olivera, among others, have collaborated.

Also Read: Déjalo, the latest track by Pedro Conga y su Orquesta Internacional

Omara Portuondo announces world tour

Latin America / Cuba / La Habana

Cuban singer Omara Portuondo will embark on a world tour in April that will take her to places in the United States and Europe in a first stage, the artist announced at a press conference.

“Omara es Cuba” gives its name to the tour that will start on the 19th at the Regent Theater in the city of Los Angeles, and has concerts scheduled in New York, Chicago, Holland, Hungary, Singapore, South Korea, Canada and France . Among other countries, in some of which it will be presented for the last time.

For the month of November, the Bride of Feeling, as the artist is also known, has planned performances in South America on stages in Argentina, Chile and Uruguay.

The tour, which will last until 2020, will close this year with a great concert on the island.

For the occasion, the Cuban diva will be accompanied by talented musicians: pianist Roberto Fonseca, Andrés Coayo (percussion), Ruly Herrera on drums and bassist Yandy Martínez.

Fonseca stated that it is an honor to share the stage with Portuondo, whom she considers a universal singer who has gone through all styles but always maintaining her Cuban identity.

The repertoire of the tour will include classics performed by the artist throughout his career, including some from his time at the Buena Vista Social Club, an “all-star” project of which Portuondo was the main voice since its creation in 1997.

The 88-year-old artist is one of the most successful and beloved Cuban singers in Cuba, her discography includes thirty titles and she has recorded with the most notable Cuban and foreign artists.

Awarded the National Music Award (2006), she was also awarded a Latin Grammy for Best Contemporary Tropical Album in 2009 for her album “Gracias”.