Search Results for: Son

José Luis Pietrini Silva

José Luis Pietrini Silva was a painter and sculptor and entered into writing. He was born in Venezuela, Monagas State, in the emblematic town of Caripe on August 6, 1922.He studied at the School of Plastic and Applied Arts, at the Cristóbal Rojas School in Caracas. In 1937 he won the first prize of the competition sponsored by the newspaper La Esfera. From then on he participated in countless collective exhibitions until in 1976 he held his first solo exhibition in the Public Area of Electricity of Caracas and in 1996 he founded the first Gallery of Permanent Art of the State of Monagas, where he soon received the Municipal Prize of Culture in Plastic Arts being awarded the Medal of Honor to the Mér. in his second class by the mayor of Caripe in 1999.
National pride who values him for his creative trajectory and guides the students of plastic arts “to see something beautiful in a stone, in a little bit, that another does not see it” possessing an extensive and solid work framed within the canons of realism and his love for the Venezuelan landscape where the brilliant handling of color, light and texture “C Visual chronicler par excellence, he paints what he sees and feels.”

Unfortunately, on January 6, 2014, at 91 years old, Master Pietrini left in Caracas, leaving a great legacy throughout the national artistic field.

International Salsa Magazine, thanks the Pietrini family, especially their son the engineer Luis Prietrini who kindly provided us with the work of their private family collection.

Tribute to “Caripeña” coffee growing (1992) known as the Goddess of Coffee, in homage to the idiosyncrasy of this town on the east coast that has grown grain since ancient times.

Europe – February 2022

Maestro Jorge Anselmo Barrientos Silva, conductor, arranger and composer

He is one of Mexico’s most important musicians and cultural heritage, recuerdos del Son with Jorge Anselmo Barrientos Silva.

Jorge Barrientos was born on November 14, 1953 in Mexico City. He studied music at the Escuela del Sindicato Único de Trabajadores de la Música del Distrito Federal. Groups and orchestras in which he has worked: Mocambo, Horóscopo Tropical, Jorge y su Boogaloo, Sonora Brasilia, Sonora Mayoral, Yímbola Combo, La Justicia, Sonora.

In 1980 he founded Recuerdos del Son (director, arranger, and composer), whose group is already part of our cultural heritage of Afro-Caribbean music in Mexico. This group has participated in festivals, conferences, concerts, and courses, in the most important auditoriums and theaters of the CDMX and the interior of the country. It is worth mentioning that it has been the only Mexican group invited to Nicaragua.

Within his musical career he has been a commentator on radio stations such as Radio D, Radio Educación, La Tropi Q and XEB. He has published several works on Afro-Antillean music and especially on Cuban Son -among others- El Son Raíz y evolución, La Clave en el Son cubano, Método de Tres and a didactic disc on the variants of Son.

Jorge Anselmo Barrientos Silva y Erika Muñoz

Regarding pre-Hispanic music, he published the research: ANALOGÍA ENTRE LOS INSTRUMENTOS DE PERCUSIÓN PREHISPÁNICOS Y LOS DEL SON CUBANO (ANALOGY BETWEEN PRE-HISPANIC PERCUSSION INSTRUMENTS AND CUBAN SON). He has given conferences, concerts and workshops in several cultural spaces such as Faculties of the Universidad Autónoma de México, Cultural Centers in Mexico City, as well as in the interior of the Republic.

He has participated in the Cervantino Festival twice, the Caribbean Festival in Managua, Nicaragua in 1984, Festival de las Artes in Monterrey, Nuevo León, Tabasco, Querétaro, San Luis Potosí, etc, etc. Jorge A. Barrientos Silva was an advisor in the Chamber of Deputies, and commissioner of the Musicians Union.

He has been Secretary of Political Action and in charge of the Legal Department. In the Musicians Union, he was a founder of the Afro-Antillean music workshop, besides having given countless lectures on the Cuban Son and its variants.

Jorge, how many productions have you recorded?

FIRST PRODUCTION OF MR. GENARO ÁLVAREZ (R.I.P.D.)

Jorge Anselmo Barrientos Silva — First production of Mr. Genaro Álvarez (Q.E.P.D.)

He is one of Mexico's most important musicians and cultural heritage

INDEPENDENT PRODUCTION, OWN BRAND, EL SON RECORDS

Record pressed in Pentagrama brand, production Jorge Barrientos

Independent production for the company’s own brand, discs Son

Record pressed at the pentagram brand, production Jorge Barrientos

Among those productions, which is the one that has left a mark in your musical history?

All of them have been important and, for example, the album HOIMENAJE PEREGRINO, is a product that record collectors look for and has a special value.

The album, recorded live at the Teatro de la Ciudad, is a document that contains compositions and arrangements by the members, including music and piano solos by Mexican jazzman Héctor Infanzón.

We know that you participated in a festival in Nicaragua, can you share with us about that great experience?

It was something special, since several groups from all over the world participated, among them, Italians, Venezuelans, Cubans, etc. and when playing “al tocar al tú por tú”, the Mexican musicians did not shrink.

You participated in several recordings of your musical partners, to mention a few Tony Camargo, Linda Vera, Wuelfo Gutiérrez, (former member of the legendary Sonora Matancera), what did these great musicians leave you as a musician?

Participating with great music legends is an unforgettable experience since they ask you to interpret the scores, according to the recordings that have left their mark.

Were you in the golden age of Afro-Antillean music, how did Afro-Antillean music develop in those years?

Without underestimating the work of today’s musicians, the era I lived in was very special, because each group tried to put its “stamp” on each performance, nowadays, regularly and with honorable exceptions, most of them “sound the same”.

In the present time, do you consider that Afro-Antillean music has transcended?

Yes, it has transcended, but, with the globalization of culture, sometimes there are few novelties.

Jorge, which show do you remember that alternated with the salseros from abroad?

In the fever of the ’80s, fortunately, the businessmen looked at us to alternate with the great figures, among these I can mention: Irakere, Orquesta Aragón, Gran Combo, Sonora Matancera, Sonora Ponceña, Son 14, Adalberto y su Son, etc.

In the fever of the 80's, fortunately, businessmen looked at us to alternate with the great figures — In the fever of the 80’s, fortunately, businessmen looked at us to alternate with the great figures

¿Recuerdos del Son is already a cultural heritage of the CDMX did you imagine that someday it would happen?

The work in the cultural area has been the goal of our efforts. How nice to receive the affection and recognition of the people, who are ultimately the ones who make our career.

As director and musician of your own orchestra, has it been difficult to get to where you are?

Music and being in the show business is a daily battle, and if it has been difficult, of course, no one has the formula for success, we will continue in the daily struggle, preparing ourselves and presenting our new productions,

How did your love for the guitar, the bass and the Cuban tres come about?

First, I am a descendant of a bohemian family, where the guitar was never missing, then with time my love for the bass and then the Cuban tres began.

Are you still performing?

I’ve been performing on Saturdays at the Salón Caribe and other dance halls for 4 years. The cultural activities have been suspended for some time now (by covid) but, hopefully, the presentations in festivals and theaters will be reactivated.

Do you still feel the same adrenaline rush when you step on a stage?

Fortunately, it’s the same emotion, you never know if the public is receptive or ignores your efforts.

In your musical career, have you been honored or received recognition?

Yes, I have received countless recognitions, both for the trajectory of RECUERDOS DEL SON and for the research work I have done.

Jorge before saying goodbye we want to thank you for being and existing as the cultural heritage of the CDMX.

Would you like to close this talk with a few words?

Some say that Son is dead, Don Ignacio Piñeiro used to say: “Son is the most sublime thing for the soul to have fun, it should die, who for good does not judge it.

MAY THE SON NOT DIE, WITH CLAVE AND BONGO, MEMORIES OF THE SON.

Facebook: Jorge Anselmo Barrientos Silva

Article of Interest: Fabián Rosales Araos Chilean singer-songwriter, native of the city of Valparaíso

Henry Valladares, a brilliant, versatile, and disciplined percussionist

Our special guest this week is Henry Valladares, a brilliant, versatile, and disciplined percussionist, born on October 22nd in Barquisimeto, Lara State, to a mother from Caracas and a father from Yaracuyo.

Welcome Henry to Salsa Escrita, we would like to know how were your musical beginnings? Thank you Professor Carlos for your invitation to your well-read column. My interest in music began when I was 6 years old since I was very young I listened to salsa records by artists such as Héctor Lavoe, Willy Colón, Rubén Blades, Gran Combo, Sonora Ponceña, and all those acetate records of the time that arrived from Caracas, thanks to my mother who bought them, and in particular the record by José Mangual Jr. (Tribute to Chano Pozo) where at the end of the record there were some tracks where they taught the basic rhythms of salsa percussion (conga Milton Cardona, timbal Jimmy Sabater and the bongo José Mangual Jr.)

That would be my first influence in percussion. I remember that in those years there was a church very close to my house and I listened to the drums and bagpipe drums and I wanted to play and I built my own drum, I made it with a paint dipper and I put a piece of plastic with wick string (that was my first instrument hahaha).

born on October 22nd in Barquisimeto, Lara State, to a mother from Caracas and a father from Yaracuyo — Henry Valladares, a brilliant, versatile and disciplined percussionist

Very good maestro Valladares and at what age did you begin to acquire musical knowledge in a formal way?

At the age of 8, I started my first percussion classes formally dictated at the CEPAS cultural center in San Jacinto, with professor Francisco Escalona in congas and for bongo with professor Wálter Yaguas, later I received training at the BIGOTT foundation (Afro-Venezuelan percussion) in the city of Caracas with professor Jesús Paiva and music and rhythmic reading classes with professor Jesús Blanco (Totoño), as well as different workshops and courses.

I remember one in particular dictated by the percussionist Wílmer Albornoz from Caracas and the percussionist, Pausides Jiménez, from Barquisimeto, there I learned a lot and in the Conservatory of Music Vicente Emilio Sojo of Barquisimeto with professor Tonny González, without forgetting the videos made for the years 1996, 1997 and 1998 by the teachers Giovanni Hidalgo and José Luis Quintana (Changuito), who raised my level of knowledge in the conga, timbal, and bongo.

Much of the training of a percussionist is by his own research and the training is never lost, you continue learning every day.

In what year did you start playing at the orchestral level?

Professor Carlos, in 1994 I started playing in nightclubs with regional groups, playing in groups such as Orquesta la Playa, Nino y su Orquesta, Orquesta Líder, and with most of the dance groups in the city.

Have you accompanied national artists?

Yes, friend Colmenárez, I have accompanied artists such as Billo Caracas Boys, Wladimir Lozano, Néstor Rivero (former teenagers), Betsy Núñez (bolerista), Eli Méndez, Rafa Galindo, Verónica Rey, Memo Morales, Édgar Rodríguez (El Abuelo), Wílmer Lozano, Rodrigo Mendoza, Benjamín Rausseo (Conde del Guacharo), Fabián Santa María, among others.

Have you recorded? I have recorded in different musical productions and artists of different genres.

Henry Valladares, a brilliant, versatile and disciplined percussionist — His interest in music began at the age of 6

Since 2003 to date I am a percussionist and assistant musical director of the Latinocaribeña orchestra, belonging to the Maestro Antonio Carrillo Concert Band, the heritage of the state of Lara (135 years old) making presentations in theaters and different places inside and outside the city.

I continue to study Afro-Caribbean instruments and teach in-person and online classes, also giving workshops.
In 2019 I celebrated my 25 years of a musical career, which I celebrated with a very special workshop held at the Conservatory of Music in Barquisimeto.

Henry, what are your next goals? To finish putting together my Latin jazz group.
Well Henry Valladares, for us it was an immense pleasure to have you in our salsa column praising your dedication and discipline in the Afro-Caribbean genre in the percussive part.

And on behalf of International Salsa Magazine www.salsagoogle.com, we congratulate you for your performance representing Barquisimeto.

Thank you very much Professor Carlos for the invitation, long live percussion, and keep on supporting musicians from Barquisimeto and Venezuela.

What are your social networks? Email: [email protected]; Facebook: Henry Valladares and Instagram: @valladarespercusion.

See you next time and let’s keep salseando!

Article of Interest: Cheo Valenzuela, “El Sonero de la Dulzura”

Sigo entre amigos de Luis “Perico” Ortiz

Ortiz features Tony Vega, Milly Quezada, Johnny Rivera, Gerardo Rivas, Henry Santiago, Yturvides Vílchez, Néstor Torres, Charlie Sepúlveda and Antonio Luis Orta.

The new production of the Puerto Rican trumpeter Luis “Perico” Ortiz, Sigo entre amigos comes to us with the same energy as always. We trust this is a foretaste of what is to come because as the genius of musical production, Julio Gunda Merced, says: “We must continue to create”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos. The also masterful 1983 production featured Rafael Ithier, Rubén Blades, and Roberto Lugo, as well as the same Conjunto Quisqueya that for years dominated the danceable musical genre known as merengue. In this new arrival, Sigo entre amigos, “Perico” continues with his trumpet and the rumba is back to form. In this renewed Sigo entre amigos, cut that gives title to this impeccable production, we find the voices of: Tony Vega, Milly Quezada, Johnny Rivera, and Gerardo Rivas. The legendary backing vocalist Henry Santiago also stands out, with the vocal power to which we are accustomed.

Beginning in the third minute of what has become the promotional cut, the unmistakable trumpet of the usual Luis “Perico” Ortiz stars in the notes of the arrangement until he joins in calm and saucy harmony the melodic wind collective formed by Yturvides Vilchez, Antonio Luis Orta, Jesus Rafael “Rafy” Torres, Eliut Cintrón, Randy Román, Miguel Rivera and Danny Fuentes in a masterful closing.

The second cut of this production, De mi para ti, features the crystalline voice of Johnny Rivera. The song is a composition and arrangement by “Perico”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos. — Sigo entre amigos de Luis “Perico”

The chorus that says: “Mi tributo es para ti, gracias al salón de baile” (My tribute is for you, thanks to the dance hall) enters in a tune that my ear associates to the style that stands out in the Orquesta Puertorriqueña del maestro Don Perignon. I’m not saying that’s the way it is, I just think that’s what my ear appreciates. I love it, by the way.

Johnny’s soneos bring nostalgia to the affair without abandoning the innovative touch of the arrangement. This dichotomy of keeping the foundation constantly evolving has been very well achieved, highlighting New York as “the supreme soul of the art”. Somewhat later in the song, the touting style that Johnny adds to “si tú quieres que yo cante, canto; y si tú quieres que yo baile, bailo” shows the malleability and mastery with which “Perico” manages to weave the classic with avant-garde expertise. Bravo!

After Johnny’s characteristic war cry in the fourth minute of the song, I recommend listening to what follows the “¡Vayaaa!” anticipating the forcefulness of Gadwin Vargas’ tumbadora. That, for the sake of highlighting my favorite special effect.

How can I say no, if it is a song inspired by the affection and respect that this avant-garde school obviously expresses for women. It is about a gentleman who “sees lights” for a lady who approaches him cautiously and without haste. Finally, the gentleman succeeds in making the lady fall in love and confesses to her that the wait was worth it, even though at first he did not even dare to ask her for a kiss. In short, this composition by “Perico” himself is far from the lyrics that some fire-eating feminists condemned as misogynistic, in that past that this team of artists led by “Perico” were never part of. In a way, this song repairs the damage caused by others.

In the vocal part, it distinguishes the duet between Gerardo Rivas, guest of this production, and “Perico” himself, who also interprets through the trumpet.

Luis "Perico" Ortiz — Luis “Perico” Ortiz

Musically, the arrangement of this song is easy to listen to, although I imagine that the arranger processed all the complication to make it simple for our inexperienced ears. The rhythmic changes within the salsa sound of this song have interesting transitions, the kind that make the dancer get active even if his dancing shoes are not well tied.

In the vocal part of Detente, the duet between Tony Vega, guest of this production, and “Perico” shines. Detente lightens the speed compared to the rest of the songs in the production, so the dancer must be in good shape before trying to dance to it. This fact shows us the versatility in the interpretative ability of Tony Vega whom we are used to hearing singing romantic and slower songs. It is, without a doubt, refreshing to see how the performer’s horizons can be expanded by way of these artistic combinations of seemingly simple variations. Of course, a pioneer of these effects is “Perico” and this invention that I attribute to “Perico” is due to him having the necessary experience to achieve exceptional results with the usual performers. At the 2 minutes and a half mark, the correspondence between the bass played by Jorge Rivera and the piano played by Carlos García; they reach a rhythmic transition, which makes this arrangement a remarkable one within the list of songs that compile this production. Almost entering the fourth minute, we reach the social message that the song delivers to the listener as a chorus: “Persigue lo bueno…”. The chorus and the pregones are framed within the tastiness of a trombone full of positivism. The fifth minute gives way to the conversation between the trumpet of “Perico” and the voice of Tony Vega, affirming a message of love and truth.

Days after listening to the track, I can still hear Henry Santiago’s voice echoing, “chase the good…”

The intro of the track Solo tuya seré features “Perico’s” trumpet playing what appears to be a fragment of the Puerto Rican national anthem. “Perico” demonstrates masterful mastery in the harmony of the aforementioned notes conjugating them with the vocal entrance of Milly Quezada. The song’s lyrics are sweet and romantic with lots of melody and rhyme. However, this does not limit the arrangement to a simple one. On the contrary, it is one of those arrangements that conquers by its complexity and fluidity.

Before reaching the 2 minute mark, the leather beats come in, anticipating Milly’s proclamation, confirming in multiple ways the chorus that says: “solo tuyo siempre yo seré” (only yours I will always be). The mambo goes on, while Milly continues to splash the feeling summarized in the confession she makes while singing in her characteristic color: “eres mi mejor canción, eres tú mi melodía” (you are my best song, you are my melody). By 3:33, the arrangement returns to the undisputed sound of “Perico”. This composition, also by “Perico” pays homage to patient love, good love that swears: “te amaré toda la vida” (I will love you all my life). As you can see, it is possible to coordinate romance with a musical arrangement that is at once melodic, danceable and heavy. Now, the question I have to ask myself is: Did “Perico”‘s return to his homeland after living in New York for about two decades inspire his pen? Is that the reason for the intro with the overlapping resemblance to the national anthem? That is the question that leads me to: “Eres tú lo que soñé, eras tú mi fantasía” (You are what I dreamed of, you were my fantasy).

On Señores que se sepa, Henry Santiago’s unmistakable voice stands out again in the coros, backing up “Perico’s” vocal performance. Shortly after 2:30 minutes, the trumpet leads the melodic development of the winds. Well into the third minute, the association of bass and piano precede Jorge David Marcano’s timbal until the trombone and tumbadora begin to dominate by the fourth minute. In the fifth minute, a trumpet-led mozambique takes over. When the mozambique goes down, the piano seems to embrace the trumpet. As can be seen, the development of the theme is one with modern overtones of undeniable Afro-descendence, without departing from the classic fundamental sound.

On Tres grandes amigos, Henry Santiago sings with his usual strength. The melody benefits from a sound that I imagine was inspired by Puente, Rodríguez and Machito, since the saxophones stand out in that typical playfulness of the three Palladium greats. It would seem that the composition and arrangement -both by “Perico”- are in tune with the upcoming reunion of those whom I affectionately call “Los herederos del Mambo” (The heirs of the Mambo). I associate it, since on March 5, 2022 begins the reunion tour of Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. in the concert: The Big 3 Palladium Orchestra. The reunion will be held at the Lehman Center for the Performing Arts in New York, under the concept called “The Big 3”; this time titled Palladium in the New Millennium. On the other hand, on June 19, 2022, Tito Rodríguez, Jr. will be at the Centro de Bellas Artes de Puerto Rico performing as a tribute to “El Inolvidable”: his father, Tito Rodríguez.

Without wanting to compete with the theme performed live with the three timbaleros heirs of the Mambo: Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. backing the voices of Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román, I invite us to take a closer look at the presentation I am referring to, within the 6th Jazz Festival in Carolina, Puerto Rico. The performance of this song closed the aforementioned festival and is on YouTube for the delight of those who could not make it there. Click on the link, https://youtu.be/4jZLEnpaRCo you won’t regret it. It gave me a more complete perspective of the song and its interpretation. The arrangement of the song performed that night in Carolina is by Luis “Perico” Ortiz himself. Highlights of the August 2010 performance included: Carolina Mayor José Carlos Aponte Dalmau, Mario Grillo, Tito Rodríguez, Jr., Tito Puente, Jr. and Luis “Perico” Ortiz. On the vocal front, Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román stood out. Of course, I can’t leave out Sammy Velez on baritone saxophone.

It is true that: “We are fortunate to have had three great teachers, three great friends…” and it is also true that Henry Santiago ate it. What a hurricane, that voice that sweeps! Now what we have left is the appetite to enjoy this year’s concerts. It’s coming, we are waiting for it.

In Yturvides & Perico, the characteristic speed of the other songs contained in the production is changed and the tempo of classic Jazz with the Latin touch that characterizes the master Luis “Perico” Ortiz stands out. At minute 3:30, the arrangement is skipped for approximately thirty seconds to return to a soft minute of the undisputed Soñando con Puerto Rico. The slow tempo is skipped again until the end of the song. This arrangement is for connoisseurs only. You know, those who know, know, and those who don’t, learn. The last minute is pure trumpet accompanied by an orchestra that does not get in the way. The percussion is complementary and sends the children to school.

As promised on the compact disc’s laminated cover, this song is a fusion of Osvaldo Farrés’ Tres palabras and Bobby Capó’s Soñando con Puerto Rico in a masterful arrangement by “Perico” that accommodates an exceptional performance by Yturvides Vílchez. Simply exceptional.

In the song Warming Up, which closes this production, stand out: Charlie Sepúlveda, Néstor Torres and Antonio Luis Orta. The instrumental segment sounds like a big band, as it is. The piano dominates and seems to direct the saxophones from the first minute, besides conversing in constant playfulness with the bongo played by Richard Carrasco. The trumpets have a leading role entering and leaving in orderly shifts with the coros. Distinguished among the coros is one of my favorite voices; not only for his vocal power but also because he can subtly balance that power with his unequaled melodic command. That’s Henry Santiago, but that’s my preference.

Anyway, I love this production. If you don’t have it, get it. If you do, enjoy it.

Facebook: Luis Perico Ortiz

Article of Interest: Ray Barretto Giant Force y A Conguero’s Conguero

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico