Search Results for: Son

2022: the International Salsa and Bachata Oaxaca Festival.

For the year 2022, in Mexico the capital “Oaxaca” gives us a preview of its next musical event, especially salsa and that is the “International Festival of salsa and bachata, Oaxaca the salsa capital of Mexico” which will take place from March 17 to 20, 2022, the participants and organizers of the festival are known as a very competitive community in the genres of Salsa and Bachata where they show all their capacity during the course of the festival through the competitions held in each of their categories of dance.

For this new event it has some of the best exponents of these genres in the country and they are concentrated in the state of “Oaxaca” and to date they currently have the participation of some of the most important directors of the country and dance companies, which are:

Rhythm and Flavor (Joel and Erika),
Na´Ma sauce (Jorge Martinez),
Son and Cache (Fito Burgoa),
The Latin Show (Enrique Jarquin),
The Salsa Hall (Carlos Vargas)

International Salsa and Bachata Festival Oaxaca 2022

In this 8th edition of Oaxaca Salsa and Bachata Festival, the organization offers you 2 lodging options near the host hotel (the Hotel Misión Oaxaca San Felipe), the Suites Xadani and La Casona Colorada hotels, which will begin to reserve your room. from now on, and if you have any questions, you can contact Mrs. Mavis Escobar at the number +52 9511181624

From Mexico will be the teacher Fernando Sosa and his team Tropical Gem.
From Spain, for the first time in Mexico, Oaxaca, the teachers and world champions, Adrian and Anita.
From Spain and also for the first time in Mexico and Oaxaca, the multi-time bachata champions, Andres and Yessica.
From Cuba will be the teachers of teachers, Tito Ortos and Tamara Livolsi.
From Cuba and currently based in Europe, for the first time in Oaxaca, the great teacher, Yoandi Villaurrutia (Yoyo Flow).
From Cuba will be your beloved teacher, Alien Ramirez
From the United States (USA), the artistic director, Zeke Ruvalcaba
From Colombia once again being part of the cast, Dany Salsita y su Fábrica.
From the United States, for the first time in Oaxaca, the maestro Celso Orozco and his Speranza Pro Team.
From Costa Rica, there will be one of his great friends from the event, David and David.

For more information about the festival that will take place in the capital of Salsa “Oaxaca”:

Facebook: @OAXACASALSAYBACHATAFESTIVAL

Stories in the key of salsa come “from the LP to your library”

From the pen of the novel writer Urayoán Enrique comes Relatos en clave de salsa, a collection of eleven stories, all inspired by the same erotic salsa that revolutionized the salsa music scene at least three decades ago.

The eleven songs that inspired the stories contained in the book that Urayoán recently built-in clear homage to salsa erotica are all undisputed hits. The concept of this collection of short stories follows the line that the author calls: from the LP to your library.

Most of the musical themes contained here came in LP (Long Play) format, those vinyl records that compiled ten musical themes in one unit, known as an album. From that concept, Urayoán came up with the idea of making the conversion, deciding that the collection of stories would be one of eleven, including ten tracks -in this case stories- plus the well-remembered bonus track, for a total of eleven.

From the pen of the novel writer Urayoán Enrique from Arroyo comes Relatos en clave de salsa, a collection of eleven stories, all inspired by the same erotic salsa that revolutionized the salsa music scene at least three decades ago. — Stories in the key of salsa From the pen of the novel writer Urayoán Enrique

During the official launch and presentation of the book, which took place at the Teatro Renacimiento in Arroyo, Puerto Rico on September 18, 2021; young actor Bryan (Brayito) Lebrón and Suhey Moraima played the lead roles in an apt theatrical interpretation of the story entitled Esa chica es mía. Broadcaster and DJ Eduardo Huertas Alicea moderated the event.

Puerto Rican writers Bella Martínez and Richard Rivera Cardona, editor of the literary work, were in charge of the question and answer segment, whose answers brought to light details about the construction of this text that, as previously stated, pays homage to erotic salsa.

The titles contained in this collection, whose inspiration came to Urayoán by way of the musical themes with which the stories in reference share the titles, are: Ven, devórame otra vez, Insaciable, Desnúdate mujer, ¿Quién será ese ladrón, Esa chica es mía, Desayuno, Caricias prohibidas, Mi mundo, Quiero morir en tu piel, Lluvia and Tu prenda tendida.

Before reading each story, it is suggested to listen to the musical theme that inspires it. The book is so carefully constructed that each story has the credits associated with the theme song. The credits include the title, the performer, the composer of the lyrics, the arranger responsible for the musical composition, the album that contains it, the record label that published it and the year in which the song was published. As can be seen, the research was exhaustive and the writing comprehensive; which evidences the care and respect with which this work, which has also been called salsa in prose, was treated.

Urayoán contemplates with his usual shyness to follow this literary line in order to continue building stories that keep the salsa alive and in the minds of the readers. There remained on the shelf the restlessness to write about: Me acostumbré (interpretation by “Tártaro de la salsa”: Frankie Ruiz), Sí, te mentií (interpretation by Lalo Rodríguez), Aquel viejo motel (interpretation by David Pabón) and 5 noches (interpretation by Paquito Guzmán).

By popular demand, Urayoán could write stories inspired by boleros. If he is motivated to explore the bolero, I suggested he develop a story inspired by Deseo salvaje (Lalo Rodríguez’s rendition). In addition to the lyrics of that song, the value lies in the fact that it was also composed by Lalo Rodríguez. Lalo wrote Deseo salvaje when he was only fourteen years old, and two years later he recorded the vocal part for Eddie Palmieri’s orchestra when he was sixteen years old. The album that contains the song I suggested here, The Sun of Latin music was the first salsa album to win the Grammy for “Best Latin Recording”. Even more significant is that it was the first salsa album to be nominated for the highest music award given annually by the world’s leading society of music professionals, better known as the Recording Academy.

In short, if the reader dares to dive into a daring read, inspired by salsa erotica, Relatos en clave de salsa is highly recommended.

Facebook: Urayoán Enrique

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

WebSite: Bella Martinez

Article of Interest: Tito Rodríguez, Jr. “The Palladium legacy lives on”

Producer Eric Maldonado’s Paris All-Stars Orchestra

Producer Eric Maldonado, born and raised in Trenton, New Jersey, comes from a musical family of 6 brothers and 3 sisters.

All of his siblings and his father play an instrument and music has been a part of his life since he was a child.

From an early age, he listened to all kinds of music but was more interested in learning how to produce it than being a musician.

At the age of 12, he began to play with different electronic equipment and his passion grew. At the age of 18, he began to record his brothers’ band with a tape recorder and a mixer.

All of his siblings and his father play an instrument and music has been part of his life since he was a child. From an early age he listened to all kinds of music, but he was more interested in learning how to produce it than being a musician. — Producer Eric Maldonado’s Paris All-Stars Orchestra

The results of that recording were incredible and that’s when his passion to be a sound engineer in the studio began.

In 2000 he started recording professionally, but he already had experience in recording different local bands since 1997.

In 2014 he moved to Tampa, Florida, and started recording different genres of music, videos, rehearsals especially Salsa.

How did you decide to found La Paris All-Stars?

In 2017 we did a charity event and began recording in the studio one of the musicians suggested calling the orchestra La Paris All-Stars and it was a success, there begin the calls for the orchestra to participate in different events from there the first production titled “Los Escogidos” Vol. 1 is recorded in which he has as guests Ismael Miranda “El Niño Bonito” and Willie Rosario “Mr. Afinque” to mention some of a long list of excellent musicians of trajectory.

“Already with three productions that follow with La Paris All-Stars”.

In 2014 he moved to Tampa, Florida and began recording different musical genres, videos and rehearsals, especially Salsa. — The Paris All-Stars

This year singles have been released instead of a full production so that the songs are not lost as new singles from other artists are coming out all the time. At the end of October, all these singles will form the production Los Escogidos Volume II.

“There are moments throughout your musical career that remain marked by various circumstances who or those who leave you have left that mark embodied in your music.”

All the songs and artists have been well received by the public, each one is special and has their own style.

Otto Duniel Ferreiro is one of those artists that I like to work with him in the studio, his style and his voice are an incredible combination, I can listen to a musical arrangement and know which artist can sing it and right now I just released the song Ven a Gozar singing Chevy El Pitirre de la Salsa, it has been well received.

Have you just released the song “Ven a Gozar” with Chevy El Pitirre de la Salsa as your guest? How did you come up with the idea to achieve such a tasty ensemble?

I was about to include Chevy with a song in this production, I have many songs recorded, but without lyrics, I found this song and sent it to Chevy to compose the lyrics and we put it to cook this theme fell like a glove to Chevy El Pitirre de la Salsa achieving the perfect assembly.

What are we waiting for Christmas?

I started working on a Christmas song, but everything was delayed because I am working with many artists of different musical genres and I could not finish it, for this reason, nothing will be released this year, but you can enjoy my single Parranda con La Paris which was released last year where you can continue to enjoy great musicians of this house Paris Records.

Discography:

Los Escogidos Vol.1 (2018)

Estamos de Parranda (2018)

RnB and Pop Hits in Salsa (2019)

In early November he will be presenting “Los Escogidos” Vol.2 (2021) an album that comes with a musical quality that only our beloved Eric Maldonado knows how to do it and his Paris All-Stars.

Contact us:

Eric Maldonado

The Paris All-Stars Orchestra / Paris Records

[email protected]

813-340-6001

Producer Eric Maldonado's Paris All-Stars Orchestra — Producer Eric Maldonado’s Paris All-Stars Orchestra

The engine of my life my wife, my children, Baby Ezra always in my heart, blessings!

Thanking the collaboration of Eric Maldonado to be able to make this article.

By: Erika Muñoz from “Se Armó la Rumba en México”

Article of Interest: Chevy “El Pitirre De La Salsa”

Lawrence and his Vanguard Orchestra I always went ahead of what I wanted and broke “The barriers”

Lawrence Daniel Ibarra Perdigón

The Vanguardia Orchestra was born on May 28, 2001, the name of Vanguardia comes because I always ahead of what I wanted and break the barriers, beginnings date back to 1974 in Block 6 of January 23 in Caracas, musicians rehearsing: Cheo Navarro, Miguel Pacheco, el Gordo Zambrano, Miguel Diaz, Edgar Dolor Quijada and my older brother who supports me and gives me a drum set.

My first professional presentation was with a group called Clave and Son de Caricuao, the director was David Zurita, I made my debut as a chorus singer, imagine if we only alternated with the Caribbean Classical Sonero, that was on May 1st 1983, then in 1985 I began my career as a bongosero in the Fundarte Workshops in the Aquiles Nazoa Library with Professor Orlando Poleo until 1987, the Orchestra Conductorship came later.

The Orquesta Vanguardia is made up of 12 musicians, all of whom have great experience and professionalism. The orchestra is made up of Vicente Frigeiro 1st trumpet, Douglas Villarreal 2nd trumpet arranger, and Miguel Sánchez 1st trombone. 2nd trombone Wilfredo Calderón, Percussion, Oliver Meneses timbal, Richard Avila tumbadoras, Jackson Monterola bongo and bell, piano Douglas Madera arranger and director, bass Elio Torres, singers and choirs José Cedeño, Pedro Rivera and Lawrence Ibarra.

Lawrence and his Vanguard Orchestra I always went ahead of what I wanted and broke "the Barriers". — Lawrence and his Vanguard Orchestra I always went ahead of what I wanted and broke “the Barriers”.

We have alternated, with figures like Hildemaro, Bailatino, Erick Francheski, Grupo madera. Manuel Guerra, Watussi, Naty y Su Orquesta, Noche Caliente, Son Madera Son, Mandinga Star Band, Orquesta Sabor y Swing, Orquesta La Oportunidad, Orquesta Saraguey, Sabor a Pueblo, Orquesta Sinsaye de Venezuela, Agrupación los Tan Tan, Pibo Marquez and his Criollo download, El Combo de Venezuela, Javier Plaza, music lovers meeting in Cali Colombia sharing on Channel 14 with Samir Bazzi and Eddie Saa Colombian singer, Radio Z te Prende with the Pepezon Cali Colombia.

As a bongosero I started in 1985 going through several groups such as: Clave y Son, Son Bacara, Son 27, until 2001 when I founded my own orchestra today Vanguardia, but it was for a short time in the Bongo with Vanguardia.

Beginning as a singer, thanks to the great teacher Oswaldo Morales, well known for his hits like Cinco Centavitos and Ella, I studied with him for about three years. In 2005 I recorded my first production entitled Marcando la Diferencia with 11 songs like SABROSITO by Jose Reina, Cheo Navarro’s Fashion Orchestra, Quiero llorar , Ni llanto ni Flores , Déjalo Volar by Composer Angel Flores, Escaleras de tu Mente by Fran Quintero and Ciriaco by Pedro Rivera With this first production we traveled to Cali and made ourselves known to the public.

I have 8 songs of which 6 are Originals and 2 versions of songs like; Eres tu this is the promotional song that has its video clip that can be viewed on YouTube, as Lawrence and his orchestra Vanguardia.

The Vanguardia Orchestra was born on May 28, 2001, the name Vanguardia comes because I always went ahead to what I wanted and break the barriers, beginnings date back to 1974 in Block 6 of 23 de Enero in Caracas, rehearsing musicians: Cheo Navarro, Miguel Pacheco, el Gordo Zambrano, Miguel Diaz, Edgar Dolor Quijada and my older brother who gives me the support and gives me a drum set as a gift. — Lawrence and his Vanguard Orchestra

I want to cry by Elias Escalona, Eduardo Serrano’s Barlovento, Viejo Chévere by Maestro Luis María Frómita (Billo), Guayabera no dé, Dame otra Tarde by Maestro Alfredy Bogado, Ven y Vacila by myself as well as Eres tu debuting as a composer and Vanguardia Son by Douglas Villarreal Arranger of this second production, Jose Guachafa Guzmán , Jose Tuky Torres, Douglas Madera and Douglas Villarreal.

Tours presentations clear promotional tour to Cali Colombia, Peru, Mexico presentations contrasts in VTV, covers in Venevision, Cota 800 Alba, Gaveguero and Bellaglio.

Promotional tour of Colombia in 2019, cities like Bogota and Cali, participating in radio and television, Fairs of Cali, currently I have my third production which consists of 9 unreleased songs and two video clips, Esa Mujer and Block 6 and placed on YouTube by the hand of Alfredo Montilla, musicians who participated Pianos: Douglas Madera and Sammy Infante, Bass: José Guachafa Guzmán, Julito Antillano and Eliot torres, Percussion: José Cheo Navarro, Carlos Guzmán, Enrique Sojo and Oliver Meneses, Trumpets: Vicente Frigueiro, Luis Ruiz and Douglas Villarreal, Trombones: Miguel Sánchez, Singers and Chorus, Edgar Dolor Quijada, Pedro Rivera, José Cedeño and Lawrence Ibarra, Recorded at Requena Studios, Recording Technician Francisco Requena.

Emisora Oye Ven por 106.9 FM — “En Vanguardia con Ritmo Salsa y Sabor”

Currently I have been 3 year in my new facet as a broadcaster, by the Emisora Oye Ven on 106.9 FM with the program that comes out every Saturday from 12:00 pm to 2:00 pm which is entitled “En Vanguardia con Ritmo Salsa y Sabor” which I support the Venezuelan with talent, ephemeral music reviews and where everyone sounds.

Musical Production, Douglas Madera and Douglas Villarreal, Executive Production, Lawrence Ibarra

Photography by Alfredo Montilla

Contacts: Email: [email protected]

Twitter: @vanguardiaven

Mobile: 0412-998-14-06

Facebook: Lawrence Daniel Ibarra Perdigon

Article of Interest: José Madera Niño “Salsa became part of my growth”

Nelly Ramos, A Woman of Wood “Honorary Teacher”

Growing up with music, living from music, producing music, performing music, studying music, is not a cacophony, they are different states that a music lover can go through.

Either involved with one or several roles on the subject simultaneously. It is true that their development is transversed by music as a field that requires developing cognitive, motor, intellectual, and social skills, and even those required by the industry, such as those related to negotiation and marketing.

Nelly Ramos, A Woman of Wood “Honorary Teacher” — Nelly Ramos, A Woman of Wood

This means that music involves memory for the need to learn, remember and evoke; it involves dance as a pleasant form of non-verbal communication; it involves musical performance for the execution in various disciplines; it involves ingenuity and creation, to make arrangements and compositions; it involves social interaction, for the role of music in dances, concerts, programs, parties, festivals, competitions, orchestras and groups and finally it involves a field that very few are concerned with, such as research.

But even though for the music lover music occupies a transversal axis, his daily life demands him to fulfill the necessary requirements to live in society, in them, the need to work, study, and take care of the family without neglecting to cultivate himself as a person simultaneously with enriching his spiritual demands.

Linked to all this panorama is a basic principle based on birth as a source of explanation of what men and women will be and will do. We came into the world unprotected, it was our parents who at that stage facilitated our adaptation to life, and as we grew up they unconsciously drew up a script for us about what we would be in the future, often being disappointed by not seeing any of their projections fulfilled.

Growing up with music, living from music, producing music, performing music, studying music, is not a cacophony, they are different states that a music lover can go through. — Awarded as “Honorary Teacher” of the National University of the Arts.

During the first years of life, the school and the family took the reins of our formation, socialization and the transmission of values, but in this process, the influence of the environment played a preponderant role by carrying behind it a hidden curriculum whose function was to transmit information to us, different from what the school or the family could have covered. In my personal growth,

the influences received by the environment that offered me living in a neighborhood such as the Marín neighborhood in the parish of San Agustín del Sur in Caracas were decisive.

It was living my adolescence in the ’70s, wrapped in the confluence of uses, customs, traditions and a whole diversity of socio-cultural practices inherent to the daily life of the neighborhood all culminating in shaping my tastes, my preferences, my interests, my way of being, of saying and acting. How to escape, for example, from the practice of a neighbor located at the top of the neighborhood who habitually listened to salsa amplifying it for the whole community; to coexist with the Saturday rehearsals of Frank y su Tribu and Mon Carrillo and his sextet or the almost daily practices of Alfredo Padilla studying his timbal on the balcony of his house, or Pedro García “Guapachá teaching the youngsters his tumbadora techniques; or waiting every year end for the street descargas; dancing in the parties and temples enjoying the song “Rómpelo de los Dementes, “Guasancó” by Sexteto Juventud or “Pao Pao” by Federico y su Combo Latino; listening to the salsa hour with Phidias Danilo Escalona was a must at lunchtime, and at night “Quiebre de Quinto” with Cesar Miguel Rondón.

Obviously, what I have said in this account is nothing more than a brief synopsis of how much influence I may have received, but when added together they give as a result of the support of my expansion through a cultural world that was seasoned by pop music and the expressions of the hippie movement during the 70s.

I continued my formal education studying Psychology at the Central University of Venezuela, simultaneously I studied Theory and Solfeggio with Professor Eduardo Serrano and then at the José Lorenzo LLamozas School, another part of my time was dedicated to studying Traditional Dances at the National Institute of Folklore.

In 1977, a group of musicians and young people from the Marín neighborhood promoted the creation of the Madera Group, through which we were able to channel all those concerns experienced in everyday life.

Maintaining the activity with the group, I got involved with Choral Singing at the Vinicio Adames Foundation. At the Bigott Foundation, I studied percussion with Professor Alexander Livinalli and popular singing with Professor Francisco Salazar.

I was a member of the group “Afroamérica” formed by Jesus Chucho Garcia, Miguel Urbina, Benigno Medina, Orlando Poleo Johnny Rudas and Faride Mijares. Since 1988 I dedicated myself to the production of Didactic Encounters of percussionist musicians teaming up with Jesús “Totoño” Blanco (R.I.P) and José Agapito Hernández.

In 1993 I was chorister of Marianella y su Orquesta. I was part of the Editorial Board and at the same time an article writer of the magazine “Así Somos”, a publication of the Ministry of Culture.

Pending not to neglect my academic interests, I dedicated myself to pursuing a Doctorate in Education at the Universidad Católica Andrés Bello.

Moving on to another facet, I had participated as an actress in the film “Pelo malo” by Mariana Rondón (grandmother Carmen) obtaining the award for a best supporting actress at the Tribeca Film Festival in New York (2014), in the Venezuelan Film Festival-Cinelco (2014) and the Municipal Film Award (2015), then I participated in the video clip of “De tú a tú” of Lasso’s promotional album in 2014.

Awarded as “Honorary Teacher” of the National University of the Arts (Unearte), in recognition of the cultural work developed.

Facebook: Nelly Josefina Ramos Tovar

Article of Interest: Professor MSc. Carlos Colmenárez and his “WRITTEN SALSA”