Search Results for: Salsa
The Cali Fair is the main and most important event in the city.
Get to know the Cali Fair.
It is the biggest event of our city and a cherished symbol of our cultural identity. Every year from December 25th to 30th, Cali residents reaffirm their unwavering passion for life, salsa, and joy.
The Fair’s origins trace back to an exclusively bullfighting event. Historians note that this celebration lasted an entire month. Priorly, festivities were held in the grand halls within hotels and clubs, with Antillean-inspired music.
The Cali Fair in Colombia offers a variety of events, including the Salsódromo parade featuring classic and antique cars, the Superconcert, and the great verbena. This maximum event of the city showcases the folklore and culture of its people.
The Cali Fair has a mythical origin, with its birth rooted in history. Unfortunately, a colossal explosion resulted in the immediate death of nearly 4,000 people and left at least 12,000 injured.
For an entire year, our city experienced a deep depression, compounded by socioeconomic hardships.
Around 1.1 million people attend annually.
The event showcases a historical tour of the city’s streets and the collections of Cali. Participants drive vintage vehicles manufactured during the early 1900s while dressed in period costumes alongside their loved ones.
Symbol of our caleñidad.
Fair exemplifies the unique qualities of our community, transforming and showing resilience.
This fair is a timely invitation to reconstruct socio-affective bonds, safeguard traditions, and strengthen culture.
The Cali Fair is a unique, inclusive and diverse space where, within the framework of the festival, the exercise of a responsible, civic, supportive and respectful citizenship is valued, which as one makes alive the exercise of citizenship with a deep intention to strengthen vital elements for life in citizenship, in a bid to unite the city in purposes that contribute to the common good in a constructive dialogue that recognizes who we are to meet again in the difference, ratifying that the Cali Fair is and will continue to be joy that inspires.
Cali is Salsa.
If you are in Cali during the Feria you will live the best days of your life, where Salsa, dance, gastronomy and the warmth of its people will make you fall in love with La Sucursal del Cielo.
The city where there are more than 100 dance schools and more than 2,000 dancers and where the World Salsa Festival is held every year.
Cali is Gastronomy.
Cali is a universe of flavors, a city with a rich gastronomic offer, invaluable gift
gastronomic offer, a priceless gift from the cultures that converge in the Sultana del Valle, such as the mestizo peoples of the Andes, the indigenous and Afro-Colombian
indigenous and Afro-Colombian peoples.
To enjoy all these wonderful dishes in Cali there are five gastronomic zones: Peñón, Granada, Ciudad Jardín, Parque del Perro and Zona T (Calle 9 between carreras 56 and 66).
Cali is Tourism.
Santiago de Cali is strengthened in tourism to show the world all its virtues in nature, culture, sports, among others.
We are a destination that inspires locals and visitors with the human quality of its inhabitants, the traditional flavors and dozens of tourist resources that you have to know. There are more than 44 festivals and 50 events every year, welcome!
Also Read: Arabella la Sonera Mayor de Colombia in her Callejón on a Sunday in Barrio with Chico Matanza
Juan Valdez Byte Dominican musician, arranger, composer and singer-songwriter.
Juan Valdez Born in San Juan de la Maguana on June 24, 1962. Son of Mrs. Martha Ramona Ybert and Mr. Jose Ignacio Valdez (Kiko), he is the eldest of 6 siblings (all musicians).
He started in his father’s band (also a musician) La Gran Dimensión, he was the first saxophonist of the municipal music band of his town where he studied solfeggio and saxophone with maestro Plinio Feliz. Later he studied piano at the school of fine arts of the same town.
Juan Valdez Ybet at the age of 19 he moved to Santo Domingo, capital of the Dominican Republic, where he became a pianist and arranger for the Rosario Brothers Orchestra, Aramis Camilo, Alex Bueno, Sergio Vargas, Alex Mansilla and Canaveral, pianist for Juan Luis Guerra and 440, then director and arranger for Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Big Bang Congreso del Bolero, Felix De Oleo, Jaqueline Estevez, Anthony Rios, Camboy Estevez, Homenaje a Felix del Rosario, among others.
He was also Director of the Television Programs: Buen Provecho with Yaqui Nuñez, Viceversa with Mariela Encarnación and Georgina Duluc, En Resumidas Cuentas and Sábado de Corporan.
Juan Valdez Ybet he has participated as a pianist in concerts and studio recordings with Aramis Camilo, Alex Bueno, Sergio Vargas, Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Felix De Oleo, popular concerts, Orquesta Sinfónica Nacional conductor Jose A. Molina, Grupo Cañaveral, Wilfrido Vargas, Fernando Villalona, Sandy Reyes, Henry Garcia, Grupo Licuado de Crispin Fernandez, Maridalia Hernandez, Milly Quezada, Juan Luis Guerra, Andy Montañez, Paquito Guzman, Tito Gomez, Zacarias Ferreira, Eddy Herrera, Hermanos Rosario, Kaki Vargas, Hector Acosta y Toros Band, The New York Band, Grupo Ilegales, Manuel Tejada, Jorge Taveras, Rasputin, Pablo Martinez, Marcos Hernandez, Luis Miguel del Amargue, Aniversario Telemicro, among others.
He has made Musical Arrangements (Orchestrator) for: Aramis Camilo, Alex Bueno, Sergio Vargas, Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Felix De Oleo, National Symphony Orchestra, Placido Domingo Jr, Grupo Canaveral, Wilfrido Vargas, Fernando Villalona, Sandy Reyes, Henry Garcia, Milly Quezada, Zacarias Ferreira, Olga Tañon, Manny Manuel, Mayra y Celines, Placido Domingo Hijo, Hermanos Rosario, Kaki Vargas, Hector Acosta y Toros Band, The New York Band, La Coco Band, Grupo Ilegales, Rasputin, Pablo Martinez, Jailine Cintron, Grupo La Linea, Premios Casandra, Primera y Segunda del Merengue, Que Viva El Merengue, Dimanchy, Conjunto Quisqueya, Giselle, Isha, Pakole, Manolé, Yanfourd, David Kada, Shadow Blow, Vakero, Gingers for Brugal, Coca Cola and Pastas La Famosa.
Juan he is also a professor of Piano and Popular Latin Orchestration at the National Conservatory of Music (CNM) since 2001 to date. He has been nominated for the Cassandra Awards since 1987 until the last Sovereign Awards.
Recognized by the green valley foundation in his town, by the city council and the syndic.
Recognized by the Grammy awards as an arranger and musician.
Arranger:
The Rosario Brothers: El Chicharron, Buena Suerte.
Aramis Camilo: Nena, Si la Ven, El Alicate, Hellow, Al Maestro Con Cariño, La india, A La Talalala, I Will Always Love You, Si Yo Pudiera (Salsa), Ya Te Digo Adiós.
Alex Bueno: Como Nadie (lyrics, composition and arrangement), Soy Rebelde, Una Lagrima Por tu Amor, Nuestro Juramento, Quien Soy Yo Sin Ella, Número C.
Quien Soy Yo Sin Ella, Número Cero.
Sergio Vargas: Marola, La Ventanita, La Pastilla, Bamboleo, Perla Negra, Se Acabo, Me Muero, El Merengue Se Baila Pegao, Dias de
Junio, Yo Soy, Muele, Maquina Olandera, Dudas, Por H o por R (Composicion y Arreglo), Perfume de Rosas, En Esta Casa Humilde, A Dar Amor, Tu Vacilandome, Tu Ausencia, Causas y Azares, Lejos, Ciclon, Que No Halla, Mas Fronteras, Amor De A Ratos, Que Linda, Mujeres, Dile Mas, Baile ae, Si Volvieras, Palo Palo, Eres Tu, Ramona, Musica para la fiesta, Soy Sergio, Ay Ombe, El Dolorcito, Jugue sin saber, Aunque mal paguen ellas, Magia, Sin Ella Sufro, Llore Llore, Lucerito.
Benny Sadel: Que pasará, Te He Prometido, Mis manos en tu cintura (Arrangement and Chorus), Homenaje a Wilfrido, Rompamos El Contrato, Quiero Ser, Por Que Yo Quiero, En Esta Navidad, Por Ti, Un Mal Sueño, Así Es La Vida, Yo Te Daba Amor.
Wilfrido Vargas: El Baile Del Perrito, Por La Plata Baila El Mono.
Fernando Villalona: Yo Soy Aquel, Sin Ti, Que Chuleria, Hoy Le Pido Al Señor, No Te Rindas (Bachata).
Rubby Perez: I Must Do It.
Eddy Herrera: Carolina, Callejón Sin Salida, Vete, Dueno De Nada, Desde Que Te Conoci, Lo Tiene Todo.
Hector Acosta (El Torito): Menos Que Nada, Sin Tu No Me Quieres, Déjala, Si Me Recuerdas (Salsa).
New York Band: Quien Piensas Tu Que Soy, Me Quedé Con Las Ganas.
Pochi y La CocoBand: Olvida Las Penas.
Diomedes: Balsie, Las Estrellas Brillaran, El Negro Chombo, Locos De Amor (Karen Records).
Kaki Vargas: Los Mosquitos Puyan (Complete Album), No Cojas Sola Pa Allá, El Hombre De Mamá, Muchachita De Los Limones, Arisleyda, Mampote, among others.
Also Read: Betsy Colombian Salsa, Bolero and Son Cubano Singer
Gato Barbieri was an excellent and virtuoso Argentine saxophonist par excellence
The Argentine musician takes us on a journey through his illustrious career.
Gato Barbieri
Editor’s note: Famed saxophonist Leandro “Gato” Barbieri passed away on Saturday, April 2, 2016, in New York City. He was 83 years old.
In 2015, the Latin Grammy Award for Musical Excellence was presented to Argentine composer Gato Barbieri, one of the most deserving musicians to be honored for his extensive career, throughout which he created a bridge between Latin music and an international audience.
In love with jazz since his formative years in the city of Rosario, Barbieri trained playing with great figures of American jazz during the 1960s.
But his heart never left his Latin American sensibility. When he came to fame as a soloist and leader of his own group, he sold millions of records, forging a personal language that draws inspiration from tango, Brazilian cadences, the sounds of the Andes and South American folklore.
Over the past few years, Barbieri, who turns 83 on November 28, has suffered several health complications. From his home in New York, the musician spoke with remarkable sincerity about this new stage of his life, now far from his youth, but full of acceptance and hope.
You recently performed at the Blue Note club in New York and sold out. How does it feel to be a jazz legend at the age of 80-something?
When I play here at the Blue Note, people come from Russia, from Europe, from everywhere, because people identify with what Gato has done.
Now, I’m a little sick and it’s hard for me to walk. I don’t like that. I have to do exercises and things like that. I’m going to be 83 years old and it’s necessary to do these things that put me in a horrendous mood [laughs].
Life is like that, it has nice things and ugly things, and you have to keep walking, walking, walking…It’s like a tango. If you pay attention, tango talks about beautiful things: people, siblings, loves, the sweet details of existence. To this day, there are some tango songs that I find incredible.
What memories do you cherish from the beginning of your career?
When I started playing with the Casablanca orchestra, when I was 17. We played bebop music, which for me was something incredible. We used to perform at carnivals in the provinces of Argentina.
I also have fond memories of playing in Europe with trumpeter Don Cherry, because I learned so much. He never said anything; he didn’t talk to us or explain anything about the music we were going to play. When we played together, we improvised, and he never stopped changing his compositions. It was a great thing.
And then, in 1972, came the music for Last Tango in Paris, which brought you international fame. What was it like to write the soundtrack for such a controversial film?
It was a magical thing, because Bernardo [Italian director Bernardo Bertolucci] is an incredible guy, an incredibly talented director. I was in good spirits, but it wasn’t an easy job because there were 50 moments in the film that needed music.
I remember we took a piano up to Pepito Pignatelli’s [owner of a legendary jazz club in Rome] house, which was on the fifth floor. Doing something like that 50 years ago was not easy, but when we recorded it, it was a beautiful thing. Sometimes the difficult things are the most beautiful.
And that unforgettable main theme, which is repeated throughout the film, how did it come about?
Bernardo called me and asked me to present him with several melodies, and that they should be as beautiful as possible. We had just gone to Italy to play some concerts, and we met Bernardo. I played him three or four tunes, and he immediately chose one and said: “This is the theme from The Last Tango in Paris”.
What do you think has been the secret of your success?
From 1970 onwards, I recorded about 45 records. That’s a lot. I was a guy who was always doing something, for me that lifestyle was a great satisfaction. As for the sax, I never knew much about chords. I make up my own chords, put one thing on top of them… and that’s it.
It’s hard to explain why I made the artistic choices I did. I wanted to do a little bit of everything, play an Argentine chacarera, or record with an Italian singer like Antonello Venditti [the hit ballad “Modena”, in 1979]. I always chose to play music from many different countries, and people identify with that.
Undoubtedly, you have lived a privileged life….
Yes, in a certain way, yes. Michelle [his first wife, who died in 1995] helped me a lot. She’s always in my heart, because she was incredible. She knew about film, art, so many things. In that sense, I learned a lot from her. And now I am living with Laura, my wife, who is a great person.
She has given me my only son, who is now 17 years old. He is tall and very intelligent, although a bit lazy, as I was myself at his age. It must be hereditary [laughs].
EL PAMPERO (1971)
After El Gato left his native Argentina, but before becoming a Latin jazz star, Gato Barbieri spent the second half of the 1960s collaborating with great, avant-garde musicians: trumpeter Don Cherry, vibraphonist Gary Burton and bassist Charlie Haden, among others. Capping a career for Barbieri as the leader of his own group, El pampero is an album recorded live at the Montreux Jazz Festival. Four tracks with extensive improvisations, steeped in South American nostalgia.
Gato Barbieri: Latin ‘jazz’ with a touch of pop and South American folklore.
By: Ernesto Lechner
Héctor Martignon has been one of the most sought-after pianists on the Latin jazz scene in New York
New York based-, Colombian born Hector Martignon has composed, orchestrated, produced, performed and recorded music in a wide spectrum of genres, from Classical and Crossover, to Jazz and World Music, to Rock and Pop.
His five albums as a leader, two as co-leader (MOZART’s BLUE FANTASIES and BACH’s SECRET FILES) as well as his work on over a hundred albums, scores for five feature films, three Broadway Musicals and multiple other projects, showcase his wide-ranging area of expertise.
After several nominations as a sideman, two of his five solo CDs were nominated for a GRAMMY Award (REFUGEE, 2008, and SECOND CHANCE, 2010).
He arranged and performed parts of the score of Ang Lee’s OSCAR-nominated movie EAT, DRINK, MAN, WOMAN.
His first professional recording was at age 18 (Mikis Theodorakis’s “Canto General”) while one of the most recent was on legendary rock band CHICAGO’s latest production, the Latin-tinged “EXITOS”.
He has written symphonic orchestrations, performed and recorded by the Russian Philharmonic Orchestra and compositions like ABRE LOS OJOS, CIERRA LOS OJOS, commissioned and premiered by the MUSICA DE CAMARA STRING ORCHESTRA at St Patrick’s Cathedral in April 2011.
Hector Martignon is currently working on a first CD with his BANDAGRANDE Big Band + String Quartet as well as an album with selections out of a series of 7 solo piano recitals at the Ludwigsburg University of Education (Germany), where he conducts a “compact seminar” on Classic Music-based improvisation every November.
As a requested sideman he has toured the world with such greats as Paquito D’Rivera, Ray Barretto, Gato Barbieri, Steve Turre, Don Byron, Tito Puente and was featured pianist with Max Roach’s PROJECT AMERICA at the 92 St Y.
His joy of teaching has made him a requested guest-lecturer and performance teacher in music faculties and academies in several countries of Europe, Japan, North- and South America.
Hector wrote an instructional book on Latin piano commissioned and published by Hal Leonard, the SALSA PIANO BOOK.
Martignon’s abilities as a pianist have always been enriched by his interest in varied musical genres.
He paid for his studies of classical piano and composition at the prestigious Freiburger Musikhochschule in Germany by performing with the best Afro-Cuban and Brazilian bands of Europe, backing stars like Celia Cruz and Ismael Quintana on their European tours, and recording with Tata Güiness and Arturo Sandoval.
At the same time he was attending seminars of contemporary composition with masters like Gyorgi Ligetti, Luigi Nono and Karl Heinz Stockhausen.
He also performed classical music in recitals and concerts in Germany, Italy and his native Colombia, specializing in Chopin, Bach and Debussy.
One of his latest endeavors has been a Jazz-Classical crossover project, co-lead with star virtuoso trumpeter Joe Burgstaller, in which the music of the classics, from Bach to Ellington is re-created in a chamber-jazz setting, to be enjoyed on their two releases, “Mozart’s Blue Fantasies” and “Bach’s Secret Files”.
Living in Brazil for a one-year love affair with that country and its music, Martignon soon became a requested studio musician and worked for star producer Carlinhos Brown.
Since relocating to New York City, Martignon has been one of the most sought-after pianists on the Latin jazz scene.
He’s toured North and South America, Europe, and Asia with the bands of Mongo Santamaría, Gato Barbieri, Steve Turre and Don Byron, who had him record in his latest CD.
He was featured pianist with the bands of Tito Puente, Mario Bauzá, Chico O’Farrill, Paquito D’Rivera, and Max Roach in his “Project America.” Most notably, Martignon was pianist for the late Ray Barretto’s various ensembles.
During his eight-year association with Barretto, his contributions as pianist, arranger, and composer were fundamental in shaping the sound of the now famous New World Spirit Sextet.
One of his last collaborations with Barretto, “My Summertime,” was a favorite nominee for a Grammy award. Martignon’s versatility has also made him extremely active in the film and television industries.
Besides playing all piano parts, he arranged and produced many parts of the score for the Oscar-nominated film “Eat, Drink, Man, Woman” by Ang Lee and performed the piano and keyboard parts for many movie scores (i.e., “Gloria”, “Relativity”).
He is composer of the original music of two feature films, one of which, “Septimo Cielo”, won international awards. He also collaborated in the production of many Broadway musicals (“Chronicle of a Death Foretold”, Paul Simon’s “The Capeman”, “Selena Forever”) as conductor, arranger, and co-composer. In the fall of 2003 Hector visited Slovenia and Russia to collaborate with singer-songwriter Vitaly Osmsçko’s first symphonic CD.
The Russian Philharmonic Orchestra recorded in Moscow the orchestrations written by Hector.
As a composer, producer and arranger of TV and radio music his record is no less impressive. In 2001 he landed two spots for HBO Latino, and one for Coca Cola.
HECTOR” S FOREIGN AFFAIR In 1998 Martignon performed with his quartet “Foreign Affair”at the Brooklyn Academy of Music’s famed annual festival “The Next Wave” on a triple bill with Tito Puente’s “Top Percussion” and Don Byron’s “Music for six Musicians”.
This proved to be a turning point for him and his ensemble, which evolved from the strictly acoustic trio sound of the first two CDs to a more eclectic and electric quartet sound.
The new configuration that evolved from that memorable concert started a series of concerts and recordings, with guitarist Mark Whitfield, Cameroonian bassist Richard Bona and Cuban drummer Horacio “Negro” Hernández.
This quartet performed and recorded live during a weeklong stint at New York’s famous Birdland.
The group has also performed on BET television festivals, at jazz clubs in Manhattan, and made various appearances in clubs and open-air festivals in his native Colombia and in Europe.
Martignon’s third solo project, to be released in the fall of 2003, is not only a reflection of the group’s new musical direction but also of his interaction with other world class musicians.
Eddie Gomez, Jeff Watts, Mathew Garrison, John Benitez, Dafnis Prieto, Willard Dyson have all made their unique contribution to this, Martignon’s new sound of Jazz.
Hector Martignon never fails to surprise, challenge and delight us. Stay tuned and get involved in this affair.
Site: Héctor Martignon
Also Read: “El Sol de la Música Latina” el primer premio Grammy para el histórico disco de Salsa Eddie Palmieri