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This is the story of Percussionist Joe González

Young Joseph

Joseph Gonzalez has been one of the greatest Latin percussion icons of our time and it is worth talking about his past and current accomplishments. He was born on March 12, 1953 in the San Juan Hill section of Manhattan and grew up in a mixture of cultures with Puerto Rican and Italian roots, which ensured that the young Joseph and the rest of his siblings were raised with the best of each.

Percussionist Joe González posing for the camera

According to the musician himself, his passion for music started in the 1950s when he listened to all kinds of genres and rhythms at home, which trained the young man almost without him realizing it. At home, his family used to enjoy the talent of Frank Santana, Machito, Jerry Vale, Tito Puente, Mario Lanza, among many other artists of the time. Upon hearing these names, one can already get an idea of what Gonzalez’s vocational training would be like in the future.

From a young age, he would liven up family parties by playing the conga. At the age of 15, the boy first became interested in music as something more than just a hobby to kill some time. The teenager gave signs that music would be a very important part of his life.

Already in the 1960s, Gonzalez had made his first long-playing record with Frankie Nieves, vocalist and neighbor of the artist who had set himself the goal of taking over the boogaloo world and become one of its greatest exponents. The album was called ”The Terrible Frankie Nieves”, was under the direction of producer Stan Lewis and contained all kinds of popular genres for those years such as R&B, guaracha, mambo and much more.

Self-taugh musician

Something very striking about this music is that he never attended an institute or school of arts, but learned everything by himself through the experience he gained in San Juan Hill, where the best Latin music orchestras were always heard and whose musicians lived and some even resided in Amsterdam Houses.

In 1971, he became a member of the Ruben Betancourt’s orchestra, with whom he would play the group’s first LP entitled ”Orquesta Tentación” and published by the record label Mañana Records. A few years later, he married and soon he and his wife had their first daughter, to whom they gave the name Audrey Valentina. Around the same time, he separated from Rubénm stayed with ”Felix Morales & Orchestra Caprí” for two years and was part of ”Son De La Loma”, whose members were veteran musicians who taught Joe everything they knew.

Cover of the album ‘’62nd and 10th’’

During the 1980s, there was a dramatic decline in the Latin music scene, which caused Gonzalez to look for a regular job that could support his family and provide them with the the finaltial security they need. In those years, he partnered with jazzman Mario Bauzá and his orchestra, a group with which the percussionist finally achieved the level he was destined to get to.

He started making very important appearances in a lot of concerts with the Bauzá’s orchestra and recordings that would lead him to have access to many other opportunities on TV shows, film soundtracks, tours, awards, among many other things. This led him to be worthy of the Latin Grammy on several occasions and perform with stars such as Celia Cruz, Papo Vázquez, Arturo O’Farrill, Daniel Poce and many more.

His most recent album is entitled ”62nd to 10th”, which is absolutely dominated by Latin jazz and whose compositions are written by Gonzalez himself, except for one track. In this album, Joe Gonzalez once again demonstrates that he has not forgotten everything he has learned and is still as strong as ever.

By Johnny Cruz, ISM Correspondents, New York, New York City

The multifaceted artist Yamila Guerra and all her projects

Who is Yamila Guerra

Yamila Guerra is a Cuban singer, dancer, actress and TV host who has always felt a great passion for music from an early age and knew she wanted to devote her life to the world of entertainment. She is the daughter of the famous Cuban duo Rosell y Cary and sister of famous producer, bandleader, arranger, composer, classical guitarist Yalil Guerra, who is a great friend of International Salsa Magazine.

We had the honor of talking with Yamila for a while and know a little more about her both personally and professionally. It was really a pleasure for us to have had her here and to know more about her great career.

Inclination for the arts from an early age and academic background

Yamila reveals that she has always felt very attracted to the art world and started this journey doing impressions of certain Cuban and foreign artists who she saw on TV. Some of them were friends of her parents’or colleagues because they shared the stage with them in all the activities they did in Cuba.

Evidently, the fact that she grew up in an artistic and musical environment included a lot in the inclination she had towards this world, but it was not the only thing that made her dedicate herself to all this. She always felt a natural and organic attraction to the world of entertainment, music and art.

Seeing that her career began at the Cuba’s National Ballet School, it can be said that the first area in which she began to develop was dance. When she took the physical tests, she was admitted to the institution and attended as a listener until she was old enough to be able to participate in the classes. She feels that she had a complete training because, besides studying classical ballet, she learned all the Cuban dances such as contradanza, Cuban son, cha cha chá, danzón, among others.

Yamila Guerra with his brother Yalil Guerra

At the School of Artistic Varieties, she developed in areas such as acting, singing, music and much more. All these disciplines mentioned above helped her a lot with her professional future.

Once in the United States, she studied at Berkley College of Music and took singing lessons in some genres such as blues, jazz, country, ballads, among others. At other schools, she studied art history, marketing, business, sales and other areas that have served her professionally speaking.

Life in Spain

Guerra tells us that she left Spain and moved to Miami because she could not tolerate its cold climate and wanted to be closer to her family in Cuba, but she has many good memories and is thankful to the European country, as it gave her the opportunity to be a TV host on channels such as TVE, Canal Satélite Digital, Antena 3 and Telecinco. Likewise, she was able to take her music to different stages and many parts of Spain. She felt that the Spanish people welcomed her art with open arms.

Once she moved to Miami, she worked on ”Sábado Gigante” as an actress with Don Francisco, whom she thanks for the opportunity his team gave her.

Yamila Guerra, His brother Yalil Guerra and their parents Rossel and Cary

How business, economics and legality have helped her in her career

One of the first pieces of advice Yamila gives to anyone who wants to work in entertainment in the United States is to master the English language. The artist defines herself as an eternal student because she has always liked to learn everything, especially languages. In fact, when she was in Spain, she paid for an English academy once a week to learn that language because she knew it would be very important in her career in terms of negotiation.

She also stresses that it is important to find out about legal and business issues to deal with clients and partners in the best possible way and avoid loopholes that naturally arise in the entertainment world. Yamila believes that it is very important to separate art from business and ”not to be trusted with money”. The Cuban highlights the importance of being pragmatic about making decisions and not allowing the artistic part to prevent people from making the right decisions at the level of business.

Social media

The talented performer considers that social networks are a fundamental part of her work and promotion, so she thinks it is important to have a presence on each and every one of them and design a strategy depending on the characteristics of each one. She considers that it is very important to post videos and photographs in order to promote her work, but also use her platforms to talk about other more personal topics such as family, beauty, nutrition, love and other things. That variety of facets is what attracts so many people to her content.

As for her personal tastes, she confesses that she loves Tik Tok because she considers it a very organic and authentic platform. This is where she posts videos of herself acting and giving her opinion about all kinds of topics, something that gives her great exposure.

On this same issue, she stated that social networking has become essential to all types of professions and that we must all be present on them as much as possible because they have become part of our letter of introduction to others.

Tradicional Cubano

Yamila had been wanting to make an album fully dedicated to traditional Cuban music, which she considers to be the most flavorful, since it does not need a lot of instrumentation to feel it. It is very old, but it does not lose its flavor and its validity over the years. This is how her latest album ”Tradicional Cubano” came about.

This album includes composers such as Ignacio Piñeiro and Celina González. Guerra wanted to rescue this repertoire that she listened to when she was a child, since it always caught her attention and she was fascinated to be able to portray the Cuban culture and the lives of Cubans.

Producer, composer, and singer D’ William tells his story

Who is D’ William?

William Pagán Díaz, artistically known as D’ William, is a talented producer, composer and singer with extensive experience in various tropical genres. He was part of the Oro Negro Orchestra and the Tañón Band before starting his solo career. We were fortunate to talk to him and learn a little more about his history and career.

Producer, composer, and singer William Pagán Díaz

How his career began

The Oro Negro Orchestra represented his first musical experience and he was about 17 years old at the time. In fact, his mother had to sign a contract for him to be part of the group because he was underage. He stayed there for a year until he got asked to audition for the Tañón Band, a group that Olga Tañón was creating at the time.

After auditioning with 300 or 400 candidates, I was chosen as the last missing member for the group because it required four and there were only three. D’ William told us that he felt he had the world in his hands due to work with Olga Tañón, but unfortunately she decided to broke up the band because she had other plans. At that time, Pagan did not know what to do with his life because he thought he had already pursued the ultimate in his career, so he decided to turn his life around, enlist in the army and forget all music.

These years of his life contributed a lot to strengthen his discipline, but he also realized that he did not want to dedicate himself to military life forever. After he retired, he moved to Japan and lived there for about seven years, during that time he was introduced to Puerto Rican salsa thanks to some friends. He started singing salsa, but always saw music as sort of a hobby and not as something he wanted to do professionally.

He toured all over Japan with the Conquistando Orchestra and composed for other artists and various franchises, but nothing for himself. In 2010, he decided that he wanted to change that situation and recorded six salsa songs with the idea of moving to Puerto Rico thinking he was going to find the same country in the musical field. Then, all the songs recorded by him stayed on the hard drive of his computer and he could not do anything with them.

D' William at the Estela Awards — D’ William at the Estela Awards

Unable to get a job, he decides to use his veteran’s benefits to complete his education, which leads him to study criminal justice and law. In 2018, a job opportunity as a lawyer for the federal government in Washington DC arose, so he moves there and meets some people who reconnect him with music thanks to his career in Japan.

When the COVID-19 pandemic arrived, he finally made the decision to start his solo career and choose a stage name that referred to his real name, which led him to use D’ William. In September 2020, he recorded his first song titled “24 horas enteras” giving start to his solo career.

Why use merengue as a base for his music?

Although merengue has not had such a boom in recent years, D’ William is passionate about this genre that he never wanted to leave aside and even said that “a party without merengue is not a party”. The artist wanted to do something that included a tropical genre handled very well by him and he knows he was right about deciding on merengue, since he has observed a renaissance in the popularity of this set of rhythms with the help of artists such as Elvis Crespo, who was again seen in awards recently.

Music for millennial ears

D’ William points out that the most important elements of merengue will always be present in his work, but in his own words, ”the years and generations make the music evolve”. Since the performer did not want to stignate in the same thing, he tries to experiment with a new style of singing merengue and writes some of his lyrics with other genres in mind, such as dembow. He also incorporates kicks, snares, synthesizers and other sounds to reach millenial ears.

This combination of the above elements has made the reception to the artist’s music great.

D' William performing on stage — D’ William performing on stage

Experience in Guatemala

D’ William also told us about the Estela Awards in Guatemala, which he did not knew nothing about until he was invited to attend. Once there, he noticed the importance of these awards for Central America, as they recognize the talent of Guatemala, El Salvador, Costa Rica, Nicaragua, Mexico and many more.

He had the honor of being in its sixth edition and seeing how artists who did not have the opportunity to be in bigger events such as Billboard, Tu Música, Latin Grammy, among others, were awarded. Something very special about this year was the participation of a Puerto Rican delegation of for the first time in its history, in which D’ William was with several of his compatriots.

The reception of the public and press towards this group was great and they really enjoyed the show. They were so well received that they plan to return soon in December to continue delighting Guatemalans with their talent.

What did D’ William do during the pandemic?

D’ William told us that he did a lot of things for himself and other colleagues during the pandemic. He did a great collaboration on a track with Dominique Patrick Noel, a French percussionist with whom we had the pleasure to talk beforehand. They have done several songs together in which the Puerto Rican sings and does some arrangements with Noel.

He also sang with Eduardo Padua, who is a very famous Puerto Rican conguero in Virginia and Peruvian Andy Caseda.

D' William did interesting collaborations during the pandemic — D’ William did interesting collaborations during the pandemic

Renato Capriles, the man who imposed the rhythm with “Los Melodicos”

Dance bands have always added flavor and rhythm to parties in the Caribbean, but one of the greatest was born in Venezuela at the hands of Renato Capriles, “Los Melodicos”. An entrepreneur with an interesting vision of music, who knew how to adapt to what the public wanted, throughout the decades that accompanied his great project. In the following lines, we will tell you about his life and what he thought of his experiences.

Early years of Renato Capriles

Contrary to what many believe Renato was not born in Caracas, but in a small town called San Esteban located in Puerto Cabello, Carabobo state on December 28, 1931. In his own words:

“It was a town where only six or seven families lived. The rest of the inhabitants were people who served in those houses. San Esteban is about an hour from Puerto Cabello and it is still a very beautiful area.”

His arrival in Caracas is due to the death of his father, at that time his older brother, Miguel Ángel, decided to move the family to the capital and develop the businesses for which the Capriles family would later be well known in Venezuela. In addition, that is why it is known that he was born into a wealthy family, so business is something that he carried in his blood. They were also a large family, Renato being the 13th sibling of 14, which is why he always considered it his lucky number.

Arriving in Caracas, they settled in La Pastora, where the Capriles spent their childhood and adolescence. Renato himself even commented that he traveled those streets with a velocipede that was given to him for his birthday. During his adolescence he began to be closer to the dance bands of the time, although music always accompanied him, showing an innate ear since he was a child. But it was as a teenager that he went to parties in the main square and listened to the radio:

“Already a little older – 16, 17 or 18 years old – the programs I listened to were “A Gozar Muchachos”, Billo’s program, of course, and the program that Luís Alfonso Larraín had. Those were the two great orchestras…”

At that time he also began his professional stage, first as an office boy at Inex S.A., owned by the German businessman Gustavo Zingg. Thanks to his friendliness and knowing how to treat people, he met Zingg and his children, who, seeing his hard work, promoted him to store salesman and then itinerant salesman aboard a Land Rover, with which he toured much of the Venezuelan territory selling everything, including power plants.

Then he decided to follow his family’s vein and set up his own business in Valencia, a clothing store that he bought from his brother-in-law who was a travel agent for two clothing factories. However, this only lasted 2 years, this being the only business that Renato failed. His mother asked his brother Miguel Ángel to take him to the company, known at that time as Cadena Capriles, which little by little became a publishing conglomerate.

Renato came to the organization and formed the company’s Public Relations department from scratch, something he was always very proud of and that he kept reminding in every interview. In fact, that vein of public relations is what led him to achieve that impressive success with “Los Melodicos”:

“I think I was born with that. I always make the comment that more than a musician I feel like a born relationist. All my life I have done it and I have applied it…”

The Birth of “Los Melodicos”

Although it may seem like a joke due to the supposed enmity between the two, it was Billo Frómeta’s orchestra that prompted Renato to form “Los Melodicos”. The young Capriles spent his adolescence listening to Billo’s Caracas Boys on his radio program “A Gozar Muchachos”, he also listened to other orchestras that competed with Billo’s for the popularity of Venezuelans and neighboring countries.

In addition to that, Renato Capriles was always linked in one way or another to music, not only did he have rhythm and an innate ear, but also his businessman’s mind led him to give his own orchestra a different organization. In fact, at the time that the Capriles family lived in La Castellana, he and his younger brother Juan Felipe had a small band of 5 musicians. Therefore, Renato already had experience in the formation of bands and orchestras.

In 1958 Renato finally decided to follow his most longed-for dream of having his own orchestra and taking advantage of the problem of the veto given to maestro Billo, Renato looked for him to help him with the composition and arrangements. As he commented in the interview he gave to Alfredo Churión D. and his space “Aquí están todavía”:

“There is a bit of fantasy about the creation of my orchestra. I was a big fan of Billo and always wanted to have an orchestra that sounded like his. I’ve always said it!… (Billo) he had opened a business in Sabana Grande which he baptized El Rincón de Billo in where he played the piano for the large number of friends who visited him there. And there I introduced myself to him one day with Tere, my first wife, to give an outlet for the concern I had had since I was a boy, which was to have an orchestra.

And my words were: ‘Billo, the reason for my visit is not to come and hear you play the piano or have drinks at the bar, but rather to propose that you make arrangements for an orchestra that I’m going to found and I’ll give you 50% of profits’… All in all, after seven months my orchestra appeared with its arrangements. He could not appear anywhere with them because no musician could get close to Billo at that time under penalty of being banned for life too.”

“Los Melodicos” made their debut in a television program that was sponsored by Cadena Capriles, it was called Su Revista Musical. Renato was the producer of the show and there the animator Henry Altuve made his debut, who had only worked on the radio until that moment. The orchestra’s first LP came with arrangements and a composition by Billo. So it had its sound but at the same time it didn’t:

“He arranged very lively with a very commercial sound, but it didn’t sound like him. On my orchestra’s first LP, although it’s his arrangement, it’s not his sound.”

Another important thing to highlight was the way of working and how Renato organized the orchestra, along with his innovative system of paying the musicians:

“I created a form of payment for musicians that did not exist at the time and that caught Billo’s attention when he reappeared with his orchestra in 1960. I invented the rates for musicians and I can prove it to you because I have the contracts saved. A first high earned eight hundred bolivars a month and a good second tenor earned six hundred. It was the first orchestra that earned salaries. It wasn’t like Billo’s where each musician earned a percentage. I created the orchestra as a company. They had, and still have, Social Security, Savings Bank, interest-free loans, etc.”

Renato’s golden age with “Los Melodicos”

The “Los Melodicos” orchestra has been faithful to the motto that has accompanied it throughout its extensive musical career: “The orchestra that imposes rhythm in Venezuela”. They began with the singers Víctor Piñero “Rey del Merecumbé” and Germán Vergara, but they were innovative by having a woman in the ranks of an orchestra for the first time: Emilita Dago.

Since then, singers and musicians like Rafa Pérez, Manolo Monterrey called the “Ciclón Antillano”, Niro Keller, Cherry Navarro, Cheo García, Roberto Antonio and Miguel Moly have passed through its ranks over the decades; while among the girls were Norma López, Diveana, Floriana and Liz.

What differentiated “Los Melodicos” from other orchestras in those decades was the innovation that Renato put into it. One of those great examples is presenting varied rhythms outside of the Latin dance rhythm. They came to play the twist with the singer Teresita Martí, which brought them great problems since it was considered “… a vulgar and ordinary rhythm.” They also came to play songs with touches of rock, but their most significant sound is techno with songs like “Papachongo” and “Que Rico”, where Diveana managed to capture more than one heart.

During all the years that Renato was in charge of the orchestra, there were many rumors of romantic love affairs with his singers, to which he himself replied:

“17 female figures have passed through my orchestra and I have had romantic relationships with 7 of them. Some are stormy and others very beautiful. People think that I’ve gotten involved with all of them, but that’s not the case. Raise fame and go to sleep.”

Renato’s rhythm went off before his time

Renato Capriles left us on the morning of July 8, 2014, he had already been hospitalized for days in a clinic in Caracas, all due to pneumonia. Currently, the direction of the orchestra is led by Iliana Capriles, daughter of Renato, who has been working hard for 11 years to continue contributing to the success of the orchestra as director. But all her life she has been in one way or another linked to the orchestra, and like a good Capriles she has gone through all the positions of the company that her father founded.

“For 30 years I have been part of the musical organization Renato Capriles, I have been the right hand of my father, his producer, promoter, sales, among others, until 2014 when I had to assume it, and it has been an enormous responsibility, and here we are paying tribute, honor to whom honor is due, and maintaining the legacy of great importance in Latin music”.

“Los Melodicos” are a key part of the musical history of Venezuela, with more than 100 productions under their authorship, and it cannot be forgotten that their professional enmity with Billo’s Caracas Boys is what kept the panorama of dance bands interesting. As they have always shown, they keep up to date with new trends and social networks are no exception, so you can find them everywhere like @orquesta_losmelodicos or La Orquesta Los Melodicos, because now they are “the orchestra that imposes the rhythm” in the digital world.

Yolanda Moreno “the People’s Dancer”

Venezuela has been a Caribbean and South American country that has always shown artistic tendencies among its inhabitants. Dance is no exception here, and one of the great representatives of typical Venezuelan dance is Sixta Yolanda Moreno de Rodríguez, better known as Yolanda Moreno the People’s Dancer” In this article we will talk more about her, keep reading.

The beginnings of Yolanda Moreno’s Career

This great Venezuelan dancer was born on August 6, 1936, in El Guarataro neighborhood of San Juan parish, in Caracas. Her parents named her Sixta Yolanda, a fact that few know unless her life is investigated, but she considered that Yolanda was easier to say and pronounce.

She grew up in a low-income family, but that didn’t stop her from pursuing her passion for singing and dancing. At the age of 13, she joined as a chorister in the musical group “Retablo de Maravillas” created by the Ministry of Labor. In this group she demonstrated her talent for music and a wonderful voice, in addition to fulfilling a childhood dream: «As a child I wanted to be a flamenco singer, I listened to the «Gitana de Color». With this group she met her first mentor, the Austrian dancer Margarita Brenner.

During this stage Yolanda met the one who will be the love of her life, her husband Manuel Rodríguez Cárdenas. To whom she also thanks all the support he has given her throughout her career, to the point of assuring that she would not be the dancer and woman she is today without his total trust and company. Although their relationship was a surprise since the marriage took place when she was only 16 years old.

The foundation of “Danzas Venezuela”

Another of her great achievements with her husband Manuel, is the founding of the group “Danzas Venezuela” in 1962. With it Yolanda manages to modernize the dance and folklore of the country, by changing the image of the dancers with very wide skirts and hair collected, that way they look more refined; she also changed the footwear to give more force to the zapateado.

Although at first these changes were not well received, Moreno with her husband achieved public acceptance, and also captivated the international public. Among the places they managed to visit are: China, Japan, Korea, Hawaii, San Francisco, Washington, New York, Canada, the Soviet Union and Latin America, from Mexico to Argentina. One of her special places was Puerto Rico, where she was given her nickname: “La Bailarina del Pueblo” (the People’s Dancer).

She also has great memories of China, especially when she was amazed by the respect for elders and the large number of artistic expressions that exist in this country. «Dance is a permanent job, very pleasant. I work until I am asleep. I got used to hard work, although it hurt, I danced» her words sum up her love for dance and art.

And Yolanda Moreno’s retirement came

Despite the fact that she will always be “The dancer of the Venezuelan people”, Yolanda has accepted that her days on stage are over, this of course does not mean that she won’t continue directing dancers and giving her advice with contributions in choreography. But Yolanda no longer actively follows her career, her big farewell was in 2008 with two performances at the Casa del Artista.

Of course, she has had special appearances like the one she presented in the posthumous tribute to Joaquín Riviera, which was part of the pre-opening of Miss Venezuela 2013. There have been other special events, but none as splendidly as the golden years of his career.

It is more than understandable that Moreno would withdraw from it, at 86 years old she is a woman who since she was a child has given everything to the art and folklore of her country. She also had to bravely face the farewell of her husband Manuel, which occurred in 1991 accompanied by her two sons Manuel Rodrigo and Fernán. It only remains to hope to be able to enjoy a few more years of her great ideas for the preservation, as well as modernization, of the typical dance of Venezuela.