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Search Results for: Salserin

Jonathan Moly starts 2021 singing to his exes

“No Volveré” is the name of his new single

Jonathan Moly released the single “No Volveré”, a song with which he takes advantage of singing to his ex to the rhythm of salsa. This song is produced by Sergio Ramos, who also participates in the writing of the lyrics together with Rafael Salcedo, Ernesto Suarez, Aníbal Morín, and Jonathan Moly himself. The official video was released through the Venezuelan’s YouTube channel and already has almost 250,000 views.

The new of Jonathan Moly
This year starts with a lot of work

The lyrics of the song talk about those failed loves, where even though there is still love there is no way to get back together, since their time has come and gone:

“Quisiera estar a tu lado, pero las cosas han cambiado

Esa historia baby ya es pasado

Cuantas veces lo intentamos, y ha quedado demostrado

Que lo nuestro nunca ha funcionado

Tú quieres volver, pero esta vez, no voy a perder el tiempo

Discúlpame, si te falle, ya pasó nuestro momento”

Jonathan himself has reiterated several times that the song is perfect to dedicate to exes, he highlights it in the comments that can be found in the official video on the YouTube platform: “Did you already dedicate it to your exes? ? ”. Many of them are about ex stories that Moly’s fans have shared, several have been answered by the artist, especially the weirdest and most interesting stories.

The artist in his salsa facet!
His style has conquered more than one

On January 19, Jonathan shared through his channel a tutorial video to play “No Volveré” on the guitar, one of the many ways in which he loves to be in constant communication with his fans. As part of the promotion for this single, he decided to give a new image to his account on Instagram where so far only 13 posts can be seen, most of them around the single and are from this year.

The two most interesting are where he asks his fans if you can be friends with an ex or if they would return with their exes, that way he increased the excitement for his new single so that there would be debate in the comments. Another great surprise for this single was the series of Lives that he shared through Instagram with his exes, where he thanked each one of them for the experiences that led him to be the man he is today.

Jonathan has taken advantage of these months of quarantine to continue doing what he enjoys the most: music, in addition to spending time with his family as can be seen in several vlogs where he shows things from his routines and days passed in 2020. In fact, the video clip of “No Volveré” was recorded in Colombia in January of last year, here it shows a story with an ex, along with scenes of him accompanied by beautiful dancers, one of the hallmarks of Moly’s videos.

Like many artists, Jonathan looks forward to the time where it will be safe for everyone, and to meet his fans again on stage. That way he can sing his latest singles live, but feeling the warmth provided by his fans, he really wishes that in 2021 we can win the battle against this terrible virus.

Knowing a little more about Jonathan

Jonathan Moly is a Venezuelan with art and stages in his blood, his parents are former Miss Venezuela Inés María Calero and the renowned singer, songwriter and producer Miguel Moly. He was born in Caracas on July 13, 1993, from a very young age he has been close to music thanks to his father, so much so that at the age of 4 he recorded and sang a song with him that became a success in Venezuela, even appearing in recognized programs like Sabado Sensacional.

Jonathan with his mother Inés María Calero
His mother, Inés María Calero

His growth in music continued in a professional way, when his paternal grandfather Jesús Moly gave him his first piano, where he carried out his studies of music and the instrument itself. At the age of 10 he continues with his studies in music, but complementing with acting, which he is very fond of. Then at age 11 he began his studies in guitar, which would be his favorite instrument to compose his own songs.

When he was 13 years old he began to record his first studio project under the production of his father, in 2007 he released his first single called “Mi Mejor Amiga” which became a hit on Venezuelan radio, and even managed to cross borders. He manages to perform in various parts of the Caribbean country with this song, which leads him to meet the manager of the most popular youth salsa group in Venezuela “Salserín” where artists such as Servando and Florentino have also been.

Memories with Salserín
His time in the youth group, Salserín

Salserín became Jonathan’s musical school, not only as an artist but also in the salsa and merengue genre, which despite being overshadowed in the Latin region by the urban one, has managed to remain among the new generations thanks to groups like this and artists like Jonathan. His stay in Salserín was from 2008 to 2010, with which he recorded several hits and also allowed him to have his first appearance on television with the miniseries “Robando Corazones” that was very successful in the region.

Upon leaving the group with honor and beautiful memories, Jonathan decides to continue with his solo projects, after the experience gained during those years he begins to embrace more genres such as pop and ballad. In fact it is this mixture that forms his personal stamp, salsa and merengue will always be his flag but he likes to mix it with pop or ballads, in fact he calls it pop salsa. “A mi manera” was the single that he released after Salserín which was distributed by BREÑA SOL from Spain throughout Venezuela, demonstrating everything he can offer in the tropical genre.

2012 was the year of Jonathan’s internationalization by moving and settling in Miami, from there only good things began to arrive for Moly, releasing many more singles and studio productions. In 2013 he sang a duet with the salsa singer Luis Enrique of the famous theme “Yo no se Mañana” during the Chica HTV ceremony in Colombia, which places his name on social networks due to the excellent presentation given by both.

With Luis Enrique in Colombia
Next to Luis Enrique in Colombia

To this day, Jonathan maintains that charisma and simplicity that have always accompanied him, and maintaining constant communication with his fans. We wish this talented Venezuelan artist many more successes, not only in the artistic part but also in the personal one with his wife and their little son, may more good things come.

 

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Professor MSc. Carlos Colmenárez

Mauricio Silva with ¡fury!

Composer, arranger, producer, pianist, trombonist, vocalist and conductor he participated in the recording of more than 200 productions.

It is a great honor and the pleasant satisfaction of having one of the most prolific, successful and recognized Venezuelan musicians who works as a composer, arranger, producer, pianist, trombonist, vocalist and conductor as a special guest; who is also recognized by all salsa fans at home and internationally.

We refer to Mauricio Silva, who has a musical lineage inherited from his grandfather Manuel Silva Linares and his father Miguel Angel Silva; the latter stood out as the jazz bassist for Gerry Weil, Billo’s Caracas Boys, Los Melódicos and Orquesta de Porfi Jiménez, among others; his uncle Rafael Silva was considered one of the best and most experienced trombonists in Venezuela.

Composer, arranger, producer, pianist, trombonist, vocalist and conductor He participated in the recording of more than 200 productions
Mauricio Silva with ¡fury!

Some of his brothers are also musicians and include: Josué Miguel Silva (now deceased) and Daniel Silva, an outstanding bassist and singer in diverse orchestras nationally and internationally. His son Briant Silva and his nephew Harold Silva are part of the new generation.

Mauricio Silva was born in Caracas on December 30th and became interested in training very well in his profession from a very young age which is why he studied with great Venezuelan and foreign musicians.

He has participated in the recording of more than 200 productions. Some of them with: Sexteto Juventud, La Crítica de Oscar D’León, Wladimir y su Constelación, Dimensión Latina, Los Satélites, La Salsa Mayor, Arabella y su banda, Los Melódicos, Billo’s Caracas Boys, Silva y Guerra, Mauricio Silva y su orquesta, Oscar D’León, Cheo Valenzuela, Caribbean Magic, Porfi Jiménez, Salserín, Erick Franchesky, Guaco, El Trabuco Venezolano, Wílmer Lozano, Legacy of Venezuelan Salsa, Legacy of World Salsa, among others. His compositions include Se Necesita rumbero (recorded by Oscar D’León), Te haré feliz, Debe ser el amor and Canto al Madera.

To start this interesting interview, we want to welcome to Mauricio to “Salsa Escrita” the salsa column in which we support musical talent and promote the event of our Latin music nationally and globally through International Salsa Magazine www.salsagoogle.com.

Thank you very much Professor Carlos, the truth is that I am very happy to appera as a guest in your widely-read column and I want to send my greetings to your readers and followers, I am very happy to share with you.

Master Mauricio for us it is a pleasure to interact through this prestige means of communication, let me tell you that we consider you a great idol of our Afro-Caribbean music and want to know how you started liking music. Carlos, music means everything to me, it is my formula of life and I am in it as long as I can remember. Through many studies and divine support for everything I have done and although I am not the most successful in the world, I feel very satisfied with it.

Well Mauricio, by the way, by the time you were in the orchestra “La Crítica”, were you influenced by any musician?

Yes, when I was in La Crítica, I was very much influenced by Oscar D’León as the main factor, when I saw him playing and singing with that incredible swing, that definitely left its mark and listening to artists of the time such as Andy Montañez, El Gran Combo, Ismael Rivera, Héctor Lavoe, Celia Cruz and note that life allowed me to work with all of them;

because I worked with Hector, Celia, Oscar and many others from Puerto Rico, Cuba and my training was routed to tropical music by accompanying Daniel Santos, Celio Gonzalez, Alberto Beltran and the commitment was greater to know that they came from the Sonora Matancera and that is how my taste for music was cultivated.

And to start this interesting interview, we want to welcome you Mauricio to "Salsa Escrita" the salsa column, where we project the musical talent and make known the events of our Latin music nationally and globally through International Salsa Magazine www.salsagoogle.com.
Mauricio Silva has participated in the recording of more than 200 productions

When was the idea of singing born, Mauricio? Really, the idea of singing was not one of my goals, it dit not crossed my mind to be a singer, and moreover, being in front of an orchestra got me so nervous, since being behind made feel like a duck to water, conducting, playing, but not facing the public. I did not consider myself a singer, I simply have a normal ear to have a guide to melodies of the songs, the fact that I started singing was with “Salsa, Silva y Guerra”.

Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.

Manuel Guerra had asked me for some musical arrangements for a project of his, which was going to be recorded in Puerto Rico with arrangers from there, with Ray Santos and Máximo Torres.
“Salsa, Silva y Guerra”

I made arrangements to two of my compositions for him: “Qué linda es la vida”, “Se va el amor”, and well, it was recorded on the island of Puerto Rico, that was spectacular, but the “Black Friday” occurred and costs doubled, so Manuel had to finish the production in Venezuela and then he asked me to help him finish it, we set up the trombone, chorus and I took him to ride the voice, but Manuel had tone problems with the songs, he did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him.

Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.

And yet, at the end, I ended up recording that album, which was called “Salsa, Silva y Guerra”, because I got involved with Manuel Guerra and the label Rodven decided to call it that, and there the singer Mauricio Silva was born without wanting to. I never intended to be a singer, so when it is for you, it is like you do not even take off and so begins my career as a vocalist. Mauricio, we understand that you participated in more than two hundred productions and that shows that you are a very active musician in the music industry due to your professionalism.

When was the idea of singing born, Mauricio? Really, the idea of singing was not one of my goals, it dit not crossed my mind to be a singer, and moreover, being in front of an orchestra got me so nervous, since being behind made feel like a duck to water, conducting, playing, but not facing the public. I did not consider myself a singer, I simply have a normal ear to have a guide to melodies of the songs, the fact that I started singing was with “Salsa, Silva y Guerra”.

Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.

I made arrangements to two of my compositions for him: “Qué linda es la vida”, “Se va el amor”, and well, it was recorded on the island of Puerto Rico, that was spectacular, but the “Black Friday” occurred and costs doubled, so Manuel had to finish the production in Venezuela and then he asked me to help him finish it, we set up the trombone, chorus and I took him to ride the voice, but Manuel had tone problems with the songs.

He did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him. Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.

And yet, at the end, I ended up recording that album, which was called “Salsa, Silva y Guerra”, because I got involved with Manuel Guerra and the label Rodven decided to call it that, and there the singer Mauricio Silva was born without wanting to. I never intended to be a singer, so when it is for you, it is like you do not even take off and so begins my career as a vocalist. Mauricio, we understand that you participated in more than two hundred productions and that shows that you are a very active musician in the music industry due to your professionalism.

Tell us: look, I had about 200 albums I had them computed, but I don’t know, I lost count.

For example, these days I met again with a musician from Barranquilla, we had already worked together in 1987 during a musical tour of the United States, me as a pianist in an orchestra and him as a timbalero, who is very famous in his city and I made an arrangement for him at that time and he brought back to that work and told me it was on Youtube.

So my participation has been as an arranger, musician, pianist, trombonist, choirboy, apart from the records I have served as a singer or as a guest.

I remember that I worked with “El Trabuco Venezolano”, artists from Panama, Puerto Rico, Colombia, naturally Venezuela, the United States, and Cuba.

I have done many things, both with salsa, boleros, bagpipes and much more, what happens is that I am more known in the salsa style, Venezuelan music, jazz, Bosanova, merengue, the Billo’s music, Los Melodicos, actively participating with them and salsa I have done work with Choco Orta from Puerto Rico, El Canario, Oscar D’León, Arabella, with the song’s arrangement I made of “Callejón” by Tite Curet Alonso; the truth is that I’m not complaining. Mauricio, by the way, an almost obligatory question, what have you made in such confinement by the pandemic there in Miami and how has Covid-19 affected you?

Tell us: well, the year 2020 was very difficult for all of us and the main thing that can never stop is the food and medicines supply; but entertainment and recreation is paralyzed and has timidly begun to move a little bit, but they have even stopped it again because the pandemic is still going on and here vaccination began here but the first to receive them will be the doctors, the nurses, elderly people, children and the general public, which, hopefully, will be the solution by 2021 and so artists will return to the stage.

I was affected by the coronavirus, it really hit me, solitary confinement for 15 days with many symptoms, but it detected with the exam, I did all medical treatment, I went through a lot of depression, but thank goodness I woke up much better one Sunsay and I said, am I cured? (laughter) then I had another test and it was negative, but it is an experience that has killed colleagues, friends and family; here in Florida, more than 2000 people are infected daily and 3000 people die every day in the whole country, but we remain optimistic with respect to work out airy.

Mauricio, do you have any upcoming project? Yes, there are always projects, I am producing new artists that will be know later on, but the global legacy of salsa is the most recent thing I put on the market, it is a tribute to salsa, so that the new generations can get to know that salsa that falled us in love in the 70s, 80s and 90s.

This is on all digital platforms and there is also the legacy of Venezuelan salsa. Likewise, the album “Billo’s Legendarios” in which I got the chance to be the arranger and in charge of the musical part of that production with the participation of: Carlos Vives, Oscar D’León, Charlie Aponte, Wilfrido Vargas, Sergio Vargas, Alex Bueno, Eddie Herrera, Don Fulano and Mily Quesada; in addition, the Venezuelan singer Karina and the vocalists of Billo’s Caracas Boys are special guests.

This is on all digital platforms and there is also the legacy of Venezuelan salsa
The legacy of Venezuelan Salsa.

I am also working with the new from “Adolescentes” in its new phase from the hand of El Negro Mendoza.

I am doing the “Legendary Billo’s No. 2” and in talks with Gilberto Santa Rosa, Tito Nieves, Silvestre Dangon, Carlos Vives, who wants to sing the theme “La Casa de Fernando”, and also I am helping many colleagues because the world of the record has changed a lot, there are no longer record companies that support, so stay tuned to 2021 because very good productions are coming.
“Billo’s Legendary” – Mauricio Silva

Mauricio, tell us, which singers have you accompanied in your successful career? Well, I had the honor of learning and playing with Alberto Beltrán, Celio González, Daniel Santos, those three singers from “Sonora Matancera”, we accompanied them with “La Crítica”, but even then, I accompanied Ruddy Márquez, José Luis Rodríguez, Oscar D’León, Celia Cruz, Héctor Lavoe, Justo Betancourt, Ismael Miranda, Eddie Santiago, Vity Ruiz, Maelo Ruiz, Tito Rojas (QEPD), Pedro Arroyo, Luisito Carrión, Rafu Warner, most of those artists from the 80s and 90s, and many more with whom I had the opportunity to be formed, musically speaking.

Mauricio, to finish, we have a friend in common, Nelson García “Nelsonero” in Barquisimeto, how was your work with him? Speaking of Nelson, is to talk about a great musician, a great person, from the first time I knew him, we were connected, we made a record with very few resources, but there was a magic of a talented boy who looked for a musician that is me and he put himself in his hands, and let them take him, although the songs are mostly from him or almost all the songs were from Nelson and I made those arrangements looking for a style with trombones and baritone sax, resulting in an album with a lot of heart, and from then on.

Many doors have been opened to Nelson for his way of being and he has traveled to many places in the world, and I really love him very much, I ask you to support him because he is one of those real talents, he is not made up, he is not manufactured, he is natural, that is Nelson de Jesus “Nelsonero”.

Dear Salsa fans, regular Salsa Escrita readers, we are very grateful to Mauricio Silva for the interaction we have had, give us a final message: Thank you Professor Carlos, of course, very grateful for allowing me to share in your widely read salsa column in which you promote and support the talent from my country and the rest of Latin America; I hope we can meet up again soon; I have a little bit of Barquisimeto, because I have an aunt who lives in the urbanization El Obelisco, I have cousins, godparents, Rafael Ure and a very big big greeting to all of them.

I love that city a lot, the “Musical City of Venezuela”, I have numerous friends there and I participated in orchestras such as: Nino y si Orquesta, La Banda Actual, they are all friends and we share a lot, so I send my greetings to all of them, thank you for this opportunity Professor Carlos Colmenárez “The Friend of the Salseros” and I hope to see you soon, we love you with fury!

after the rehearsal with the Los Angeles Philharmonic with Gustavo Dudamel and Oscar D'Leon - Mauricio Silva
Mauricio Silva after the rehearsal with the Los Angeles Philharmonic with Gustavo Dudamel and Oscar D’Leon

 See you next time and keep dancing  salsa!

 

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.