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History of the Orchestra “La Terrífica” of trumpeter José “Joe” Rodriguez

In the early 70’s, the trumpet player of La Sonora Ponceña, José “Joe” Rodríguez, decided to leave the orchestra led by Papo and Quique Lucca.

Joe had been part of “La Más Sureña” since almost the foundation of the orchestra and was even the lead trumpet player in the successful productions “Hacheros Pa’ Un Palo” (1968), “Fuego En El 23” (1969), “Algo de Locura” (1971), “Desde Puerto Rico a Nueva York” (1972) and “Sonora Ponceña” (1972) with which the orchestra achieved great international recognition; however, this time, the trumpet player had decided to execute an idea that had been in his head for some time.

He was also joined by percussionist Mickey Ortiz and, incredibly, the lead voice of La Sonora Ponceña, Tito Gómez.

In the early 70's, the trumpet player of La Sonora Ponceña, José "Joe" Rodríguez, decided to leave the orchestra led by Papo and Quique Lucca. — La Terrífica 1974

Soon, Joe Rodríguez, with the collaboration of the resigning members and his first cousin, bongos player Francisco “Chalina” Alvarado, who curiously had also been part of La Sonora Ponceña in the past, organized his own orchestra which he called “La Terrífica” and began to travel all over Puerto Rico performing at festivals and patron saint festivals.

La Terrífica ‎"Sabor A Pueblo" 1976 — La Terrífica ‎”Sabor A Pueblo” 1976

Sometime later they signed a contract with the powerful Fania Records label to record with its subsidiary, Internacional Records, their first album under the production of Larry Harlow, titled “Terrífica” (1974), which featured Adalberto Santiago on backing vocals, Héctor Lavoe and Yayo ‘El Indio’, which included the song ‘Hachero Mayor’ written by Francisco Alvarado and vocalized by Tito Gómez as a protest to one of the most popular Sonora Ponceña songs on the island: ‘Hacheros Pa’ Un Palo’ authored by Arsenio Rodríguez.

“Yo traigo el hacha mayor, De aquella 72 Arsenio me la dejó la, con doble filo la traigo yo.

I come to chop down a stick, which they call ‘palo mayor’ because I’m the brave one here, I’m the axeman, I bring the axe, from that 72 Arsenio left it to me, I bring it with a double edge.

I come from the mountains and I bring a lot of firewood,

Gentlemen, I come waving, I am the main axeman.

Seventy-two axes for one stick, with my two-edged axe,

Now I cut it.

I bring the biggest axe, with a double edge I bring it.

Gentlemen, I went to the mountain and I come very tasty, to distribute to the whole world, I’m the biggest axe man.

Double-edged, double-edged gentleman.

With double edge I bring it.

Careful, jump out of the way, gentlemen, so that they will know, I’m coming with “La Terrífica”.

If you don’t get out of the way, I’ll run over you with my truck.

I’ll bring it with a double edge”.

The new orchestra was doing well, they enjoyed the public’s acceptance.

The contracts began to arrive by themselves and they had a good future, however, Tito Gómez would surprise everyone when he announced that he was resigning from “La Terrífica” because he had received an interesting proposal from New York to join the powerful band of conguero Ray Barretto who, after the sudden departure of his singer Tito Allen, was looking for a new vocalist to accompany the young Panamanian Rubén Blades at the front of his orchestra.

The following year, La Sonora Ponceña records in “Tiene Pimienta” (1975), its next production, the song “Hachero Sin Hacha” in the voice of Miguelito Ortiz (who arrives to the orchestra replacing Tito Gómez to accompany Luigui Texidor), written by Papo Lucca himself, in which he responds harshly about the alleged awarding of the axe to “La Terrífica” and even makes fun of the resignation of Tito Gómez with the pregón “una gallina que no pone porque ya no tiene gallo” (a hen that doesn’t lay because she no longer has a rooster).

“Where is that great hatchet man who advertises himself out therethe one who remembered Arsenio for a triumph to get.

You are nothing more than a parrot a head without brains a hen that does not lay because it no longer has a rooster.

That axe that you have looked for cardboard teeth that was that the great Arsenio, a joke played on you.

Search well in your memory the year sixty-nine when in your presence Arsenio with Lucia sent me an axe as a reward the sign of the woodcutter.

Axemen without an axe, they are.

Your axe does not break skulls, your axe is made of cardboard.

Arsenio mistook you, Arsenio misled you, your time is long gone Ay, I’m telling you, where is that great axeman?

Maybe he died, maybe he died, you have to put your head in it, you have to put inspiration in it”.

Orquesta La Terrífica Casa Pobre, Casa Grande 1980

Incredibly, when a strong response was expected from “La Terrífica”, its director Joe Rodríguez decided to concentrate his energy on finding a replacement for Tito Gómez and to reinforce his orchestra. Thus, Yolandita Rivera from New York and a 16-year-old teenager named Héctor “Pichie” Pérez joined the group and recorded “Sabor A Pueblo” (1976), their next LP under the production of pianist Jorge Millet.

The differences between both orchestras seemed to vanish as if by magic after a supposed private meeting between the founders of both groups, a situation that allowed them to have a peaceful party.

This fact would be verified later with the recording of two songs by La Terrífica: “Humo En La Cabeza” and ‘”Vida Se Llama Mujer” both authored by Luigui Texidor, the vocalist of La Sonora Ponceña; and the linking to Quique Lucca’s orchestra of vocalist Yolanda Rivera (the main voice of La Terrífica), who, besides other hits, recorded the merengue “Si No Me Meto” composed by Francisco Alvarado, co-founder and bongos player of La Terrífica in the album “El Gigante Del Sur” (1977).

The result of this determination gave great and good results for all, to the extent that Tito Gómez returned to La Sonora Ponceña to record several songs written by Francisco Alvarado, among them “Moreno Soy” included in the album “Explorando” (1978) and eventually Joe Rodríguez participated with Quique Lucca’s orchestra as a guest trumpet player for some trips.

From this moment on, “La Terrífica” would act as a kind of quarry of vocalists and musicians that would provide La Sonora Ponceña with salsa talents, this is the case of Manuel ‘Mannix’ Martínez, Héctor ‘Pichie’ Pérez, Yolanda Rivera, Luisito Carrión, Wito Colón, Luis ‘Cuchy’ Castro (trumpet), Efraín ‘Frao’ Hernández (bass), Freddie Del Valle (trumpet), Japhet Rodríguez (timbal), Jorge Miranda (bongo), among many others.

La Terrífica ‎"Mas Terrífica" 1992 — La Terrífica ‎”Mas Terrífica” 1992

La Terrífica, from its creation until 1992, recorded ten incredible productions, saying goodbye to the Salsa market with the hit “Corazón Fracturado”.

For his part, Joe Rodriguez, the founder of La Terrifica, has been retired from music for quite some time and devoted to his religion; while Francisco “Chalina” Alvarado founded El Conjunto La Perla and is still immersed in the world of salsa.

Facebook: Orquesta “La Terrífica”

Source: Frank Manuel Orellana

Article of Interest: Where the idea of the name of the Fania Record label came from

Saúl Delhom “Esta Salsa me gusta” one of the things I like the most is to learn, create and share

Saul Delhom this Salsa I like is one of the things I like the most is to learn, create and share.

Each DJ brings in his own way a vision of salsa and a very interesting sector contributing to the cultural richness.

Musical themes are like some smells, they are capriciously anchored to certain moments of our life and when you experience them again they are able to make you travel in time in an instant, have you experienced it? A salsa, a son, a mambo.

Just by listening to the first bars, for some reason your skin bristles, and memories cascade. That is the basis of this book, a very simple idea: What salsa do you like?

Within the salsa world, there is a group that rarely receives the recognition it deserves.

Each DJ. He brings in his own way a vision of salsa and a very interesting sector contributing to the cultural richness — Saúl Delhom “Esta Salsa me Gusta DJs Edition”

They are those who work with thousands of musical themes before their eyes and hands pass hundreds of albums, who select the ones you like and also the ones you still don’t know you like, for me they are salsa sommeliers, or more popularly: DJs.

I contacted DJs from different parts of the world and asked them variants of the initial question: What salsa do you like? What song do you have a memory associated with? What song attracts you musically? The result of their answers is this condensed book made up of all these wonderful stories and anecdotes from nearly one hundred DJs, whether for sentimental or purely musical reasons.

The format of the book is just right so as not to be distracted by frills, where the person and what he tells is the important thing. For that reason, it has a peculiar orientation, more common in calendars, since it opens from bottom to top, instead of right to left. I wanted to layout it with that orientation because that way, while you are reading the text, you have the photograph at the top, as if it were behind the book talking to you, always present, centered, and not on a displaced side. It is a detail that is perhaps too subtle but that I considered important.

Another feature, already common in many of my music-related books, is that on each page you can find a Spotify app code to scan and listen to the song. In addition to the stories, I have discovered many interesting topics with this book!

I felt really privileged to be the first person to read all the texts that have been sent to me.

Each DJ brings in his own way a very interesting vision of salsa and the industry, providing cultural richness.

I was also delighted to see the diversity in terms of the type of stories, from a song that fondly remembers a mother, to the technical analysis of composition and the reason for its enjoyment. And as for another type of diversity, I have tried to have as many women as possible, although it is true that we are already starting from a lower percentage.

Already at the beginning of the book, I apologize for leaving hundreds of women out of it, either for lack of time or lack of knowledge on my part and for that reason, in addition to the fantastic support from the collective, I have decided to start with another book that will be the continuation of this first volume. Stay tuned because it will soon be published!

“Esta salsa me gusta – DJs Edition”

Saúl Delhom "Esta Salsa me gusta" is one of the things I like the most: learning, creating and sharing — Saúl Delhom “Esta Salsa me gusta” is one of the things I like the most: learning, creating and sharing

Facebook: Saúl Delhom

Website: Bailo Pinto

IG: Bailo Pinto

Article of Interest: Bella Martinez, the irreverent Salsa writer

The seeds of capacho give the sound to maracas

The capacho tree (Canna Generalis Bailey) is a large flower and its colors can be yellow, red or orange. The fruit they produce has seeds used by Venezuelan folklorists to create the filling of the maracas and, in turn, get their sonority.

For this process, there are three steps to make them and obtain the final product.

capacho flor bocono — Capacho flor Bocono

In Venezuela, the typical llanera maraca is filled with seeds of capacho, which are very hard and do not wear out easily.

Another material used is the so-called “espuma e sapo” which are a type of seed that also give a very good sound to the maracas.

I have been collecting these seeds you can see in the photos for the maracas that we are going to make for the dancing devils of Tinaquillo in my community of Santa Rita in the lower part of El Valle.

Manuel Alejandro Rangel

The maraca in Venezuela has been present mainly among our native peoples. It is used to accompany the dance, be a child’s toy, invoke, heal and cleanse at the hands of the shaman. This small and powerful Venezuelan instrument is composed of three elements of nature: mango or stick extracted from the wood of wild trees; tapara or gourd, fruit of a climbing plant with the same name and originally African; and finally, seeds of capacho (Achira) or seeds of Espuma e ́ Sapo (wild plant) that go inside the tapara and are commonly found in Latin America.

For being an idiophone instrument, the maraca produces sound thanks to the vibration of its own body, that is, to the shock of the seeds inside against the walls of the tapara when it is shaken, generating a dry and strong sound. Besides resonating when shaken, when we hold the maraca and make repeated circular movements with the wrist, we achieve that the seeds result in friction with the walls of the tapara, which produces a sound with greater sustain, similar to the sweep of a broom, called for this reason by several cultists escobilla’o.

Over the years, the maraca in Venezuela was incorporated into musical expressions of different regions, becoming an almost essential accompanying instrument and varying its playing technique according to the regions and genres that have adopted it. That is why in the Venezuelan plains, the maraca performance resembles the sound of galloping hooves, that is to say, the blows of the seeds to the tapara when shaking it are mostly dry or staccato, with an possible use of the escobilla’o technique that we will explain in detail in this method.

Unlike the performance in the Venezuelan plains, in the east of Venezuela the maraca emulates the sound of the sea with the prominent use of the escobilla’o; while in the center of the country, the use of this technique is low and the shaking of the seeds is less staccato or forceful than in the plains, making its rhythm function as the main guide for the dancers. The maraca can also be seen in different Afro-descendant drum ensembles in the country, and is generally played by the singers, who use only one maraca instead of two as in the aforementioned regions.

The Venezuelan maraca is fundamentally a popular instrument. Maybe that is why, until now there has not been a specific academic musical writing that allows to know in depth all its language. The most direct way to learn to play this instrument is mainly by oral tradition, as well as by observing, listening, and deciphering great maraca players who, thanks to the cultural heritage and family tradition of their towns, play it in a very genuine and masterful way. Insignificant Venezuelan maraca players who were masters in this field such as: Santana Torrealba, Máximo Teppa, Pedro Aquilino Díaz “Mandarina”, José Pérez, Coromoto Martínez, Trino “Chiche” Morillo, Ernesto Laya, Jorge Linares “Masamorra”, Lorenzo Alvarado, Manuel García, and from the Colombian region masters who have adopted the Venezuelan maraca tradition such as Gilberto Castaño, Diego Mosquera, William León, Emanuel Contreras, among many other anonymous heroes from different regions of Venezuela, have been and will continue to be the most important guide for the teaching and evolution of the maraca in the world, providing new generations with a cultural connection to the deepest roots.

Thanks to the legacy left by each of these maraca makers, a vital source of inspiration for many performers for decades, the commitment to continue with important educational inputs that allow the expansion of knowledge and the evolution of our popular Venezuelan instruments at the academic level is born, since these instruments per se, require a rigorous study in terms of vocabulary, technique, and history.

In this method 5 Movements are the key, I want to share the experience that helped me to understand the traditional playing techniques of the Venezuelan maraca and that led me to the design of a musical writing that shows its performance with clarity and discernment for each Venezuelan genre according to the vocabulary and variations that have been standardized over time.

And when I talk about variations, I emphasize five basic movements that I consider to be the key to the playing of the maraca. Five movements that will later become the musical discourse of those who master them.

Five movements that will show the student why and how the main traditional Venezuelan rhythms are born. Five movements that I have not invented, but that are the vocabulary of tradition, and that the student will observe in the performance of Venezuelan maraca players who have dedicated their lives to this instrument.

Personally, Special mention should be made of maestro Juan Ernesto Laya “Layita”, who instilled in me much of the basic knowledge of the maracas in the workshops dictated by the Ensamble Gurrufío: Aprende y toca con Gurrufío in 2000. Years later, once graduated as a classical guitarist from the Vicente Emilio Sojo Conservatory of Music in 2004, I began to design exercises that would allow me to pedagogically transmit to my students the language learned with maestro Laya and with several of the musicians mentioned in this writing.

An important step if we take into account that no music school in Venezuela had a pedagogical program for the teaching or application of theory to this instrument at that time.

It should be noted that I have put these exercises into practice in various clinics, master classes, courses, and seminars that I have had the opportunity to dictate around the world, where the development and learning of the participants has been satisfactory in a large percentage. Especially in the Simon Bolivar Conservatory (Ccs- Vzla) where I teach since 2014, in the Venezuelan Music seminar organized by Venezuelan percussionist Fran Vielma at Berklee College of Music (Boston-USA) in 2014, and in the “Venezuelan Creole Music Course” (Mirecourt-France) produced by maestro Cristobal Soto, in which I participate since 2015, among others.

With regard to the writing of the Venezuelan maraca, over the years I came across Venezuelan works for orchestra where there are specific parts for maracas such as the guitar concertos by Antonio Lauro, the works of Evencio Castellanos, La Cantata Criolla by Antonio Estévez, La Fuga con Pajarillo by Aldemaro Romero, and the Concierto para Maracas y Orquesta Pataruco by Ricardo Lorenz, to name a few. When I read them, I realized that their writing was not entirely idiomatic, so I had to interpret and adapt to the technique and idiosyncrasy of the Venezuelan maracas what the composer wanted to say and that the writing was not able to convey to me.

That is why in 5 Movements are the key, I propose the musical writing for the Venezuelan maracas in a bigrama, since, within the large family of percussion instruments, the maraca is one of the few that produces sound with the movement of the arm both up and down. And therefore, the upward movement is part of the rhythmic phrase.

In the bigram I suggest, the upper line represents the right hand, and the lower line the left hand, very similar to the piano writing in two clefs: right hand treble clef, and left-hand bass clef. In this way, the polyrhythm of the two maracas is visually separated when carrying out their movements. In addition to the bigram, I assigned to each movement a symbol that defines which of the five that I describe will be used in each figure.

Finally, I would like to comment that one of the main objectives of this method is that these five movements and their combinations show how basic traditional Venezuelan rhythms are accompanied, and besides, how they link or build connections that allow the performer to go from an accompaniment pattern to a variation, and then back without interrupting at any time the rhythmic stability, the sound, or the movement of the arm or wrist. I would also like to add that this method not only applies to Venezuelan music genres, but can also be used to incorporate this sublime and powerful instrument into any musical culture in the world.

Maracas in Latin rhythms belong to the minor percussion section.

A classic of Latin percussion. It is an idiophone instrument, it uses its body as a resonator element, which has its own sound. The origin of the maracas is South American and dates from the pre-Columbian era in America. Originally only one maraca was played, nowadays they are usually played in pairs. Its operation is simple, the sphere is filled with small elements that when shaken impact the inner wall producing the sound we all know. These small elements can be small stones, seeds, pieces of metal or glass… They are normally used to mark the rhythm in Latin music.

Hands to the maracas!

Sources:

Photographs: Alberto Cardenas

https://www.facebook.com/ZorcaCultura/?ref=page_internal

https://cuentaelabuelo.blogspot.com/2010/03/las-maracas-o-capachos.html

https://tucuatro.com/camburpinton/las-maracas-instrumento-musical-economico-y-facil-de-elaborar/

https://www.clasf.co.ve/maracas-pan-con-queso-cuero-y-semillas-de-capacho-en-caracas-1721485/

https://manuelmaracas.com/manuelsite/articulo/a-las-maracas-venezolanas/

Article of Interest: Génesis of Salsa, its essence, characteristics, rhythm, history, and expansión

Video Courtesy of multi – percussionist Diego Gale “Master Class: Maracas

November 22nd International Musician Day

Music is our messenger from the world

Each November 22nd, music and those who make it have their own celebration called ‘Musician Day’. This is the story of this date that fills the people who reach millions of hearts through this art with pride.

And who does not like music? It is practically impossible to find a human being who does not enjoy music. Another different thing is the style of music.

But in general we all like it. The reason is the fact that it is in our genes. Regardless of its genre, music is able to change our mood by reducing sadness, stress and making us feel better.

November 22nd International Musician Day — Music is our messenger to the world

Why is Musician Day celebrated?

The date of November 22 commemorates the death of Saint Cecilia, patroness of musicians. This Christian martyr was portrayed in the 15th century by artists of the time, always playing the harp or other musical instruments. This is why she has been so associated the art of music.

The first celebrations date back to Edinburgh in 1695. Subsequently, countries such as Germany, Spain and France joined the celebrations. In Latin America, Brazil was the pioneering country in celebrating a party on November 22nd, starting between 1919 and 1920, eventually spread to the rest of the Ibero-American countries.

Finally, next Monday, November 22, 2021, we wish a happy Musician Day to those who make this art. A reality for the millions of people’s benefit.

Music (from the Greek: μουσική [τέχνη] – mousikē [téchnē], “the art of the muses”) is, according to the traditional definition of the term, the art of creating and organizing sounds and silences while respecting the basic principles of melody, harmony and rhythm, through the intervention of complex psychochemical processes.

Another different thing is the style of music. But in general we all like — It is practically impossible to find a human being who does not enjoy music.

The concept of music has been evolving since its origin in Ancient Greece, when poetry, music and dance were united without distinction to a unitary art. For several decades now, the definition of what is and what it is not music has become more complex, since prominent composers in the framework of diverse border artistic experiences have performed works that, while they could be considered musical, expand the boundaries of the definition of this art.

Music, as any artistic manifestation, is a cultural product with various purposes such as, among others, bringing out an aesthetic experience in the listener, expressing feelings, emotions, circumstances, thoughts or ideas, and increasingly, fulfilling an important therapeutic function through music therapy.

Lyrics and Music by Johnny Zamot & Sociedad 76

Music is My Life

Music is my life, my companion and my friend with her I have stayed awake to entertain the world my voice is the messenger of Latin music thank you Santa Cecilia for having given me the gift ob being a Latin music musician and singer that’s why I am telling you just so long you have got it clear. To sing guaguancó, you need a good atmosphere.

Links of Interest:

“Big Band Máquina” la Más Novedosa Producción de Angel Meléndez Lanzada por Gia Fu

22 de Noviembre Día Internacional del Músico

Dinero y Música: El Matrimonio Perfecto

NOTICIAS CON SABOR- SAN FRANCISCO BAY AREA/NORTHERN CALIFORNIA

News about the San Francisco Bay Area live music scene

The SF Bay Area live music scene has been slowly reopening since the Summer and these are the latest developments. The Seahorse in Sausalito continues to offer live Salsa on Sundays in November. The Sunday Salsa calendar for November includes rising Salsa star Carlos Xavier on Nov. 7, Edgardo Cambon y Candela on Nov. 14, Louie Romero and Mazacote on Nov. 21 and Anthony Blea on Nov. 28. The live Sundays also feature the DJ music of KPOO/KPFA DJ Jose Ruiz.

Space 550 at 550 Barneveld in SF that was offering Live Salsa with Bachata and Kizomba rooms on Friday and Saturdays are resuming their live music offerings on Friday nights. The popular Friday nights cater to the dancers featuring popular bands such as Orquesta Borinquen, Julio Bravo and Salsabor and VibraSON plus Salsa Congress type of DJ’s on the decks.

The Ramp at 855 Terry Francois Blvd in San Francisco continues to offer Salsa at their popular outdoor venue that offers live Salsa every Saturday from 5 to 9 pm and resident DJ Mendy continues his DJ sets until 11pm. Their November calendar features N’Rumba on Nov. 6, Orquesta La Original w/lead vocalist Alexis Guillen on Nov. 13, Karabali with Karl Perazo (of Santana) and Michael Spiro on Nov. 20 and La Clave Del Blanco on Nov. 27.

Rocky’s Market at Oakland’s Brooklyn Basin has finished their events season for the year. This new outdoor venue has been a welcomed addition to the local scene and has made quite a splash since offering live Salsa, Afro-Cuban, World music, Comedy and Dance shows. All-star percussionist Javier Navarette is the curator for the Modupue Sundays Latin shows. Dancers have enjoyed the live music of the SF Charanga All Star reunions featuring Dr. John Calloway, Anthony Blea, Marco Diaz, Christelle Durandy, Orlando Torriente and others, Edgardo and Candela, Pellejo Seco, La Mixta Criolla, Mio Flores Habana All Stars and Navarette and his all-star Socially Distanced Friends band! I look forward to next year!

Logotype of Rocky’s Market Brooklyn Basin

More news

Speaking about Anthony Blea…the all-star violin virtuoso has started a new Friday night scene at the Gestalt Bar, 3159 16th Street near Valencia in San Francisco. Blea, led his popular Anthony Blea y Su Charanga (aka Charanson) for many years and was part of legendary SF based bands such as Orquesta Batachanga and Tipica Cienfuegos. Blea is featuring his hot quartet which includes bassist Ayla Davila. Patrons can expect a hot descarga (jam session) with special guests to sit in every Friday night.

Popular Timba/Cuban music DJ Walt Digz has moved his El Timbon Wednesday nights to the Slate Bar 2925-16th Street between Capp and South Van Ness in SF. Digz continues to livestream his “El Timbon” three hour webcasts full of the latest Timba and Cuban Dance videos on Twitch every Tuesday night from 7 to 10 PM PST….Walt Digz is also part of the rotating all-star DJ crew that includes veteran DJ/Promoter Tony O (of Roccapulco fame) and DJ Leydis who are featured on various events produced by Jaffe Events at swanky hotel rooftops and exclusive venues in SF, Berkeley and Oakland. For more information, visit www.jaffeevents.com or check out their Facebook page.

The Peruvian restaurant Kimbara that now occupies the former large space that was part of Bissap Baobab on 3380-19th Street in SF’s Mission District is now offering DJ Salsa nights on Wednesday nights….Cigar Bar, 850 Montgomery Street in San Francisco continues to keep their doors open to Salsa aficionados and dancers on weekend nights. Recent bookings have included their Halloween bash featuring the dynamic Edgardo Cambon and Candela. Patrons can enjoy their drinks, food and cigars at this established North Beach venue for Latin music with no cover.

Don’t forget to check out the Northern California return of the explosive Grammy Award winners Spanish Harlem Orchestra for the holidays at the Monterey Conference Center, 1 Portola Plaza in Monterey on Saturday, December 11th! Yours truly, Luis Medina will be your MC and DJ for this special event coming to Monterey! For tickets and more information, visit www.montunoproductions.com or call (510) 586-3215.

International Salsa coming to SF Bay/Northern California…. Look out for Ruben Blades Salswing Tour to land at Oakland’s Paramount Theater on Saturday, November 20th at 8 PM. Ruben will be backed up by the swinging big band of Panamanian bassist Roberto Delgado who are awesome live!! Blades will be performing selections of his current critically acclaimed recording Salswing as well as his vast repertoire of hits and crowd favorites. Salswing which combines Salsa, Jazz and Swing music is already on my top 20 list for this year!!

Gilberto Santa Rosa “El Caballero De La Salsa” and his orchestra will be at the San Jose Center For The Performing Arts on Friday, November 12th. Santa Rosa released one of the best Salsa recordings of the year “Colegas” last Fall featuring all-star duets with Tito Nieves, the late Tito Rojas, Issac Delgado, Herman Olivera and others!….Grammy award winners Grupo Niche from Colombia will be appearing at Roccapulco in SF on Saturday, November 20th as well…..Superstar Marc Anthony will finally perform after several postponements at San Jose’s SAP Center on Friday, December 17th. Anthony is riding high on the charts with Pa’alla Voy, his remake of the group Africando’s Yay Voy 90’s salsa classic.

Be sure to check out my radio programs Con Sabor every Saturday evening 9 to 11 PM PST on KPFA 94.1 FM and worldwide at www.kpfa.org. And…Sabiduria Con Tumbao every Wednesday night 5 to 7 PM PST on WorldSalsaRadio.com. Con Sabor past programs are just archived for two weeks at www.kpfa.org/archives. Sabiduria Con Tumbao’s past programs are archived at www.soundcloud.com. Just go to the World Salsa radio.com page to access the programs and check it out!!!

See you next time. Ciao 4 now!!!

BY LUIS MEDINA, PRODUCER AND HOST OF CON SABOR ON KPFA 94.1 FM AND SABIDURIA CON TUMBAO ON WORLD SALSA RADIO.COM