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Gerson Aranda “La Tabla de Caracas”.

Restarting again our usual reviews, this time we return with a special guest, the virtuous and spectacular Venezuelan percussionist Gerson Aranda, who kindly gave us this interview from the city of Buenos Aires, Argentina, where he is currently based.

Gerson Aranda Rodil was born on March 8, 1973, in the Concepción Palacios maternity hospital in the parish of San Juan, Caracas.

He is the son of Pedro Aranda and Ana Teresa Rodil. Gerson, welcome to the salsa column that is currently at the forefront of Afro-Caribbean music worldwide and in which our Venezuelan musicians make themselves known, project themselves and share their artistic life with our regular readers.

To begin with, we want to know how did you get started in music and who were your mentors? -Thank you Professor Carlos Colmenárez for this opportunity that you give me to share with my dear brothers from my country and other countries around the world. Well, I have been a musician since I can remember, thanks to my parents, brothers, cousins and uncles.

Since I was very young, my father Pedro Aranda, was the founder of the Sonero Clasico del Caribe, who recorded the first two productions of this famous group, which celebrated my birthday, since my father always brought them to my house.

I was raised in the parish of Catia, in Cútira and well, the whole neighborhood would come into my home to listen to the famous Sonero Clásico, and they would listen to the songs: Carmelina, Papá Montero, El enterrador and many more.

Well, since I was a child I had an interest in music, because at home they used to play those rumbas and I had the desire to play the congas and bongo.

Gerson Aranda Rodil was born on March 8, 1973, at the Concepción Palacios maternity hospital in the parish of San Juan, Caracas. — Gerson Aranda “La Tabla de Caracas”

But there was a tres player, a great friend of the family, who met a lot with my father, who was also a tres player, bassist and guitarist; then he saw my interest in percussion and took me to the Sarría school of the maestro Orlando Poleo, who saw me playing despite my young age, he told the tres player René Zambrano, let him always come, because he has interest and conditions and that’s when things started.

At that time those greats like Gerardo Rosales, José Martínez Viruta, Willian Troconis, Wladimir Rivero, Miguelito Urbina were studying and well in that concern I began to study theory and solfeggio with Professor Carlos Ramírez, in the “Tucosan” school and then I studied percussion with Professor Jesús Blanco, known as “El Totoño”. From there my musical career practically began and at the age of 13 I started playing professionally with “El Trabuco Venezolano”, Swing y Color, Magia Caribeña, Hildemaro, Trina Medina, Grupo Repicao, Los Incorregibles, Pasión Juvenil, Grupo Mango and many more orchestras.

Gerson, I understand that you accompanied Soledad Bravo musically and performed advertising jingles? Indeed Professor Carlos, I had the joy of playing with her and toured the world and let me tell you that at that time I did advertising jingles for products on television and radio.

-Gerson, you are known as “La Tabla”, referring also to your hard hands to play the tumbadoras with very accurate hits.

I was raised in the parish of Catia, in Cútira, and well, the whole neighborhood would come into my home to listen to the famous Sonero Clásico, and they would listen to the songs: Carmelina, Papá Montero, El enterrador and many others. — Gerson, you are known as “La Tabla”, referring also to your hard hands to execute the tumbadoras with very accurate blows.

Now then, tell us, which international artists have you accompanied? Well my friend Carlos, I had the honor of accompanying Celia Cruz, Cheo Feliciano, Luigi Texidor, Junior González, Larry Harlow, Marvin Santiago, Willie Colón; among many; thanks to the fact that Naty and his Orchestra and Magia Caribeña, were the base orchestras for those artists.

I also played with Silva and Guerra, of Mauricio and Manuel. Hey Carlos, I also accompanied Justo Betancourt, Adalberto Santiago, Ismael Miranda, Andy Montañez, Jhonny Pacheco y Casanova, Pete Conde Rodríguez and others.

Gerson, what are your current projects in Argentina? -Carlitos, in Argentina I am well thank God, because I have a big band called “La Salsa Brava”, I play a lot and now with the problems with the COVID-19, everything is paralyzed, but I have been very active for three years in all the “boliches”, name given to the night clubs and I have accompanied Los Adolescentes, Rey Ruiz, Charlie Sepúlveda, Jimmy El León, Charlie Aponte, among many others.

My band is made up of Venezuelan, Argentinean, Colombian and Cuban musicians. I have earned respect and they call me “maestro”; I am also giving classes to advanced percussionists, with techniques of different genres and rhythms, unknown to them, since here what is known is the Cuban timba and salsa brava.

Excellent Gerson, apart from the full band, do you have other smaller formats? Yes, I have a sextet called “La Crisis”, because when there is not much money, we make it available and play music by Joe Cuba, Conjunto Libre and others. With “Salsa Brava” I am about to record my production, which I suspended due to my accident before coming to Buenos Aires and the other thing is that my comadre Indira Velasquez came over there and I made a Sonora Matancera format, which is called “Sonora Consoltura” and we have made several presentations and people are very happy with that genre, since they are getting to know what a pachanga, a danzón, among others, is.

Apart from that, I am also doing advertising jingles again. What can you tell us about the Tributo Orchestra and El Guajeo? -The thing about Tributo and Cheo, is that since I was very young I had the fortune that before Tributo and Bailatino existed, we formed the group “Repicao”, which was a school band formed by: Édgar Dolor Quijada, Tuky Torres, José Soto Mortadelo, Prisco Oropeza, Manuel Barrios, Cheo Navarro, Catú Rodríguez and myself, which we played emblematic themes and from here begins the affinity with Cheo and from there, then he arms Tributo and tells me to conform his staff, which was integrated by: Alberto Crespo, José Soto Mortadelo, Jhonny Rivero, Javier Vivas, Johán Muñoz, Eliel Rivero, Osquita, Marcial Istúriz, Édgar Dolor Quijada, Gonzalo Díaz, Rónald Gómez and my substitute is Miguel Urbina and we recorded several albums. They are my friends and we are still in contact, and with “El Guajeo”, the experience was wonderful with the great Alfredo Naranjo. Professor Carlos, I tell you in all honesty that the musical level in Venezuela is very superior and out of this world, with all due respect.

a tres player, a great friend of the family, who used to meet a lot with my father, who was also a tres player, bass player and guitarist. — Gerson Aranda “La Tabla de Caracas”

-Gerson, who are the members of your band of musicians in Argentina? Professor Carlos, it is made up of A Barquisimetana named Lauremys Vanesa on trombone, Catalina Keiti (trombone), Luis Sulbarán (trumpet), Bruno Espinola (trumpet), Ángel Vargas (piano), Bernardo Vásquez (bass), Esteban Leandro “El Puca” (singer), Felipe Figueroa (singer), Deiby Bandre (bongo), Martín Barrera (congas) and me on timbales; It’s my orchestra called “La Salsa Brava”, here in Buenos Aires.

Your social networks? My social networks are: [email protected]. Instagram: Orquesta La Salsa Brava. Facebook: Gelson Aranda Musician. Cell: +54 911 36244963.

Well friend Gerson, for me it was a pleasure to have had you as the protagonist of this installment of Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsagoogle.com and at the same time we wish you the greatest success and continue to represent us worthily outside our borders, giving “tabla” to percussion. Thank you professor and friend Carlos Colmenárez for this opportunity that you give to all the artists of Afro-Caribbean music to project us worldwide in your prestigious salsa column and may God bless and protect you greatly and you know that you count on your brother Gerson Aranda.

Gerson Aranda “La Tabla de Caracas” y su Sexteto

By: Professor MSc. Carlos Colmenárez Correspondent in Venezuela for International Salsa Magazine

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“Cuando se acaba el amor”, Stefany Castillo’s new theme song

“CUANDO SE ACABA EL AMOR”

Stefany Castillo – La Sonerita del Callao

Peru, one of the South American countries known for its variety and impressive ecosystems, overflowing landscapes, beautiful cities full of history, culture, traditions, beaches, fauna, flora… and, of course, its delicious and famous gastronomy.

This time we have Stefany Castillo, a Peruvian singer who was born and educated in the Barrio Estibadores del Callao, near Callao, a port city located in the constitutional province of Callao, in the center-west of Peru, is known for being the port of Callao, the largest and first maritime port in Peru, through which 90% of the import and export cargo of the Andean country moves.

The Buenos Aires musical influence would push her into the musical world and six years ago, trying her luck in some local groups and daring to sing on stage; Three years later, he developed his project, first in digital format which he called “La Sonerita del Callao” and then with the company surrounded by eleven musicians he formed an orchestra, known as “La Sonerita del Callao 4 Orquesta”.

Album of " La Sonerita del Callao " — Cuando se acaba el amor – Stefany Castillo

Currently Stefany Castillo has surrounded himself with a team of professionals and connoisseurs of the Afro-Caribbean, Antillean and Latin sound, and he has periodically been publishing successful singles that have allowed him to become a recognized name and place on local and international circuits. “Mal Hombre”, “You Desire” and “La Sonerita Llegó” are his musical letters of introduction to the salsa flock that have arrived thanks to the opportunity that radios and platforms around the world have given him.

Regarding the new cut in promotion of the title “When Love Ends”, he makes it known that it is from the signature of Eddie Villanueva, a chalaco (Callao, Peru) resident in Switzerland, Road Manager of the Mercadonegro Orchestra, representative of La Sonerita Del Callao and pleasant revelation in the composition. The arrangement of the song has been entrusted to the renowned Venezuelan trumpet musician, arranger and producer Oscar “Chucky” Codero who lives in Holland; And, to round off the task, the musicians listed below have been summoned to become the special musical framework for the characteristic and heartfelt performance of Stefany Castillo, La Sonerita Del Callao:

Author: Eddie Villanueva Chininín
Arrangement: Óscar “Chucky” Cordero
Lead Vocal: Stefany Castillo, La Sonerita Del Callao
Timbal, Bongo, Tumbadoras, Maracas, Giiro: Rodrigo Rodríguez
Bass: Dimitris Christopoulos
Trombones: Johan Alexis Escalante H.
Backing vocals: Robert “El Chamo” Marcano $ Rodrigo Rodríguez
Trumpets: Óscar “Chucky” Cordero
Piano: Óscar Iván Lozano (OILO)
Vocal Coach: Óscar Huaranga (Bambú Records, Lima – Peru)
Sound and Mix Engineer: José Mendoza
Mastering: 440 Studios By Fernando Álvarez (Madrid – Spain)
Recorded at: Go Studio (Zurich – Switzerland)
Musical Producer: Rodrigo Rodríguez Puerta
Executive Producer: Eddie Villanueva Chininín
APR: Eddie Villanueva and Rodrigo Rodriguez
General Coordination: Serafín Castillo
General Production: Eddie Villanueva

SWING LATINO PRODUCTIONS

If you want more contact information, access the following links below:

Fan Page:
https://www.facebook.com/LaSoneritaDelCallao
Instagram:
https://www.instagram.com/lasoneritadelcallao/
Twitter:
https://twitter.com/SoneritaLa
Phone (WhatsApp):
+51 917 027 251
Eddie Villanueva Chininin: Management more info:
Phone: +41 789732183

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Argentina and its musical genres of origin and the tropics

Argentine musical genres and development to date with tropical genres

Each country has its essence with respect to what it represents above all in its culture, and in Latin America there is a great variety of musical genres and dances unlike Europe since during the colonization of the new world a mixture occurred not only at the level of races but also of culture, emerging a great variety of musical genres…

In this time we have Argentina, a country full of cultural diversity being the most interesting characteristic of this great South American country. It is a country where music is expressed with great style and elegance, especially at the level of dance, since its presentations are made in various places, including outdoors, especially in Buenos Aires (usually in summer).

Among the musical genres that stand out are:

Argentine Rock: it is the mix of rock and roll, blues, country & western, R&B, doo wop, boogie woogie and swing; It is characterized by having an outstanding and recognized Hispanic lyrics throughout Latin America thanks to the great popularity of the bands and artists that participated and reaped records in album sales and in attendance at recitals in the mid-1950s to date. (sample bands)

Tango: a musical and dance genre very characteristic of the Rio de la Plata region and its area of influence, but mainly of the cities of Buenos Aires (in Argentina) and Montevideo (in Uruguay). Their music and dance is very popular in Argentina and this expressive dance has strong European influences. It is danced as a couple where the dancers merge in a romantic embrace, showing their sensuality, passion and feeling in each step taken, leading it to become one of the most famous dances and musical genres in the world.

Cumbia: despite the fact that this rhythm from the Caribbean countries, particularly Colombia, has spread in several Latin American countries including that country, the cumbia and the different variants are part of the music called “tropical”, and in Argentina Cumbia Villera is a subgenre born in popular areas, born approximately in 1997. It emerged from the fusion with local rhythms such as chamamé and tango, due to its instrumental endowment; Another particular characteristic of Argentine cumbia is the inclusion of flamenco within its musicalization.

In Argentine there are folk rhythms:

Zamba: its name derives from the daughters of black slaves and aborigines, who were sought to seduce through dance, this genre is located in the central part of the country and is generally associated with the Argentine Pampas. It is danced in pairs where the man surrounds the woman’s shoulders with a handkerchief with the intention of seduction.

Carnavalito: this genre is located in the Andean region, north of Argentina, its music and dance make up a part of the Andean pre-Columbian culture, it has a festive and lively tone.

Chacarera: a dance native to the north-central part of the country, has a marked aboriginal influence where the Quichua language is manifested. With vehement and intense tones, it is used in regional Carnival dances and is danced by stamping and courting figures.

During the 50s in the USA (United States) several musical genres were called “Latin Rhythms” to differentiate them from African-Americans, among which are salsa, merengue, samba, bachata and bolero among the most known. You will say that this has to do with the musical genres mentioned above … because there is a great difference and history since each musical genre or dance has its own rules to perform them either on a musical or dance level, but when a mixture arises. from two or more musical genres, a new one more innovative, fun and with a taste to the population, like what happened with the Latin rhythms in that country.

Photo of some dancers — Tango dancers photos

Salsa is a contagious and fun rhythm most of all for the general population at the time of dancing it, since people enjoy a very lively music where they usually shine with the amount of turns to magically show themselves with their spectators and to achieve this you are born with it or you train with professionals in dance; this generally applies to all Latin and / or tropical rhythms.

It does not matter what genre this popular in each country, the important thing is the dedication, expression and that each person has when producing their musical theme or dance to the public, giving the native his personal touch to his music or dance, becoming more unique and not as generic as it is made in other countries.

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Why Is Rhythm & Vibes Dance Popular In London?

Dsantos Dance UK now Rhythm & Vibes Dance

Couple dancing — Rhythm & Vibes Dance Company received a donation from the Arts Council England for #CultureRecoveryFund

The majority of Europeans agree that social dancing is the most popular nightlife activity in London. In addition to that, if you bet on enjoying the astonishing movements of Afro-Latin rhythms, the connection between unknown people who have the same desire to learn dance, you keep in shape without realizing it and release endorphins that increase the state of well-being, then the joy and the passion are greater. Rhythm & Vibes Dance has this key to triumph with fun included, making this Latin and African dance academy the most popular for six years in this cosmopolitan city of the 21st century.This school recognized by the Arts Council of England in 2020 for its contribution to culture, each week (before the global pandemic) was like a festival with more than 4000 people participating in the events each year led by national and international professional instructors with years of experience that made the dance lessons unmatched.

Rhythm & Vibes Dance, formerly known as Dsantos Dance UK, is developing a program of Salsa, Bachata, Kizomba, and Semba that will be safe and entertaining for everyone, to respect the rules of social distancing due to the Covid 19 Pandemic. This program of activities will be being announced on its website SOON.

LATIN DANCE CLASSES AND PARTY IN RV DANCE

English woman dancing with afroamerican man — After the fun dance lessons, the Salsa and Bachata party begins

Rhythm & Vibes Dance Company (RV Dance) was established in 2015 by director and dancer Richard Voogt. “We strive to create a festive atmosphere at each event, celebrating great music and culture in the way we know it best … Through fun yet professional classes, we create a space that brings together an eclectic mix of people to speak and socialize easily. Whether people come simply to try something new or want to build a career in dance, we welcome everyone with the same passion and enthusiasm”. Richard Said.

At RV Dance they raise the profile of social dance by promoting health, development, community unity, and cultural awareness that go beyond the joys of dance.

With their professionally designed study plan, anyone will be saying goodbye to those “two left feet” in a short time. Salsa classes are open to people of all ages and abilities at three levels (beginners, intermediate, and advanced). Each lesson lasts one hour and immediately afterward the Latin party will begin, where you can enjoy practicing your new steps with good music.

Young couple dancing — In individual classes, you will get the full benefit of focus and attention

But now, how do you identify at what level you can start? It is easy in this academy. Students in Level 1 (The most important and fun level) are beginners or those who have taken lessons for six months or less, which means they have attended less than 30 Salsa classes. At this level every week, they will work on the fundamental steps of this rhythm and the basic concepts of dance, in addition to complementing each week 10 additional, well-known, and fun movements as a couple. Also, the instructor will keep you alert weekly by making you dance freestyle with what you have learned.

Level 2 is for those who have danced for more than six consecutive months. At this level, the Salsa teachers will challenge you to put your movements of the genre in combinations; besides, they will present you with ten complex combos of work in a couple. Here, a lot of fun awaits you and you can last on this journey to the depth of Salsa for up to a year and a half approximately.

Finally, for the more advanced students is Level 3, for the lady and gentleman, who have mastered the techniques of Salsa and have taken one or more classes of this rhythm a week for more than two years. This level presents the most defiant combinations of this Afro-Caribbean genre, as well as the finer points of style and body movement.

Additionally, at RV Dance you can also have private, professional, and fun Salsa, Bachata, Cha Cha, Merengue, Kizomba, Semba, Kuduro & Afrohouse classes. Each lesson style provides the time and space necessary for the nationally and internationally recognized teacher to focus on the main aspects of dance technique, skill, or understanding in which a person wishes to excel.

NORA SUZUKI

32 Years After Her Debut In Salsa

She broke paradigms in Latin and Asian music in the late ‘80s. She founded the most famous Salsa orchestra in Japan (La Orquesta De La Luz). She paved the way for new generations of artists. She is an institution of Afro-Caribbean music in oriental culture. A leading woman, dreamer, charismatic, and enthusiastic… This is how Nora Suzuki presents her story.

This famous artist originally from Nakano-ku (Tokyo) did not always want to be a singer, at first Nora was inclined towards professional dance taking ballet classes at three years old, however, by then this young singing promise already had an unmatched vocal talent that couldn’t go unnoticed years later.

Her aptitude for the arts comes from her family because her grandfather was a master of drums and singing, her parents, although they are not professionals, continue to be excellent singers, her cousin is a music teacher, her brother is a fan of the English band, The Beatles, and finally, her son León (named so in honor of Venezuelan Salsa singer, Oscar D’ León) loves Japanese popular music right now, nevertheless, Nora hopes that one day he will succeed her as Salsero. As you can see, music runs through the veins of this successful international singer.

In the last year of Takashima High School in Tokyo (Japan) Nora’s track record of success began to be carved out. She started in an amateur rock band as the lead vocalist and developed her interest in R&B music. She sang in the ATOM band during her undergraduate career at Nihon University art of college. By then, the band had a percussionist (ex-leader of the Orquesta De La Luz) who loved Salsa and suggested to Suzuki that she study that Latin musical genre.

Nora Suzuki signing autographs — “Gracias Salseros” was released on the music market on August 20, 2019

“When I was 21, I visited New York for sightseeing and watched Oscar D’ Leon’s live at the Salsa Club. I was very impressed at that time and fell in love with Salsa. After that, a Salsa band called Orquesta del Sol was playing live in Tokyo, so I went to see that band. I was impressed that even Japanese people can play Salsa, so I decided to form La Orquesta De La Luz”. Nora explained in detail the idea that came up to create this famous Japanese Salsa Orchestra in 1984 and already graduated from university for that year.

For Suzuki, currently based in Tokyo, the last year (2020) was a year of changes: most of her concerts were postponed or canceled due to the Covid-19 pandemic, but they were still able to perform live, and after the summer, they made several performances in their home city and other adjacent regions.

In the near future, the concert tour of Nora and La Orquesta de la Luz in America and Europe is a fact, as well as the fusion of modern elements such as Reggaeton inside Salsa in their new record productions.

HER PATH THROUGH SPANISH

Nora outdoors — “I have never felt discriminated while touring Latin America. I think it’s great!” Nora

For Nora, not everything was easy when she began her career in Latin music. At first, it was difficult for her to speak Spanish due to the pronunciation of the consonants “R” and “L”. Since there isn’t distinction in the phonetics of both letters in the Japanese language, however, this successful singer never occurred to sing Salsa in another language. “I tried very hard to pronounce it right… Now I have original Salsa song with Japanese lyrics”. The artist commented.

This charismatic singer-songwriter on her path through Spanish first caught the sounds in the katakana alphabet. Then, she studied Spanish grammar in courses broadcast on television and radio.

The lyrics of her songs are composed by her using words she knows, reading dictionaries, and example sentences carefully. Once the lyrics are made, they are reviewed by one of her friends of Latin descent.

Now I can understand Spanish a lot. If you speak slowly, I can understand the rough meaning”.

NORA SUZUKI & LA ORQUESTA DE LA LUZ

This prestigious artist, who has captivated millions of people with her talent on three continents, was always persevering and disciplined. She formed La Orquesta De La Luz in the early ‘80s and later made a demo for their international performance. Three years later, with her savings, Nora toured three countries on the American continent: Panama, Puerto Rico, and New York.

Panama was the first country that set foot in search of being heard by Latinos. “I was very excited because I was able to appear on the radio and TV show, and the audience was very excited about my singing”. Nora commented.

Then she visited Puerto Rico and New York. Nora adds: “At first, I went to see Ralph Mercado, but unfortunately he didn’t listen to the demo tape. I was very depressed but didn’t want to give up, so I next met Richie Bonilla, and he was able to listen to the tape and could believe my story”.

Orquesta de la Luz in concert — “Some members understand Spanish a little, but most of them don’t speak it”. Nora Suzuki

After overcoming some obstacles, in 1989, they debuted as a world-famous Salsa band with their first concert tour in New York, thanks to the promotion of Bonilla, who currently continues to be her manager and the orchestra.

Eight years of resounding success on three continents and especially in Japan made each member of the band so popular that by 1997 it was impossible to match the schedule of each member, which caused the inevitable and regrettable breakup.

Five years later, specifically on January 16, 2002, Nora organized the World Peace Music Festival benefit concert due to the 911 incident in New York and return for the immense affection and support of Latinos in the United States. This concert was the catalyst for the reunion of La Orquesta de la Luz and by the beginning of 2021, the band has 23 countries already visited.

Recently, this famous star awarded the United Nations Peace Medal in 1993, together with the Orchestra, released the album “Gracias Salseros” in commemoration of their more than 30th anniversary. (This CD can be downloaded and listened to through the different digital platforms).

In the last 10 years, La Orquesta de la Luz has toured Japan twice and has participated in consecutive years in the Billboard Live in Tokyo and Osaka. You can also see them perform at local festivals, children’s schools, and through their official Facebook page with their live-streamed rehearsal videos that have a total of 9 000 000 views.

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