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Bella Martinez and International Salsa Magazine by the hand of www.SalsaGoogle.com. “Salsa has always been that rainbow that shines immediately at the end of the storm”.

During my most recent visit to the north, after the fury of the flooding associated with storm Ida allowed me to arrive in New York, I made my way to El Barrio’s ArtSpace to enjoy a night of salsa.  Salsa has always been that rainbow that shimmers immediately when the storm subsides.

I entered the venue with the artist who is the subject of my upcoming book: Henry Knowles, also known as the “World Salsa DJ”.  We identified ourselves to the checkpoint girl at the entrance, not before presenting our COVID 19 vaccination card and after receiving a good amount of hand sanitizer.  Henry had to fulfill his artistic commitment for the evening, so I put my belongings away to free myself a little and be able to socialize with the crowd behind my mask.

Once admitted to the venue, I completed the regulatory round of recognition, which I took the opportunity to say hello to several acquaintances I had not seen for a long time.  I realized that I am honing my skills to recognize my people just by identifying their eyes.  I reflected on this detail while I was making the rounds, at the same time that the music caught my attention because of the tasty repertoire.  To my surprise, the song “Mejor Que la medicine” by my beloved Víctor García y su Sonora Sanjuanera was playing, which I never imagined I would hear outside of Puerto Rico, in that environment full of connoisseurs.  I registered the DJ in front of the dance floor.  I realized it was my first time listening to the musical selection of Joe Gonzalez, better known as DJ Paz.  I approached him and let him know that his repertoire was “bravo”.

I had gone to listen to Henry Knowles, whom I admire beyond his ability as a DJ, for his musical management and cultural diligence.  Henry has been a promoter of our Afro-Antillean culture since 1977.  During his artistic career, in addition to DJing, he has been a promoter, producer, and artist manager; successfully working with Ralph Mercado Management (RMM), Sony BMG Music, and Dave Maldonado Entertainment.

The purpose of my visit that night at El Barrio’s Art Space was to set the scene with Henry in the neighborhood, where Knowles himself began the story that I am transforming into my next book.   The idea of this next literary proposal is to share it with anyone who wants to read a story of self-improvement and a lot of salsa.  It is guaranteed that these lyrics will catch the interest of all Afro-Antillean music lovers.

While I was discovering details, which you will be able to read, later on, I had several surprises.  But that’s another story, which I’ll tell you later.

Since 1999, Izzy Rodriguez has focused on the promotion of events where salsa stars, and early on in what was his recently launched event promotion career, Izzy became the most loyal promoter of salsa events on New York soil.  As a relevant fact, Izzy had started in salsa long before committing himself to event promotion.  Let’s just say that he fell in love with salsa through dancing, becoming one of the most outstanding artists of the great Eddie Torres’ corps de ballet.  At the age of 16, Izzy managed to apply his formal training in ballet and jazz to combine it with his love for salsa.  While still a teenager, he achieved professional dancer status in the highly competitive Nuyorican salsa scene.  That fact, in fact, should not come as a surprise since Izzy is the son of a dancer from the Palladium era: Vivian Saldaña.  In his case, one could say that dancing comes to Izzy from the salsa genes he inherited from his progenitor and his maternal grandmother.

Since 1980, when Henry Knowles and Izzy Rodriguez met at Club Epoca, this dynamic duo has been a winning duo.  I attribute the success of this duo to the passion they share for the salsa sound, which they both support from their own spaces.

As a bonus, I managed to give a bear hug to my dear Luisito Salgado, better known as DJ Louie Love.  As a curious fact, DJ Louie Love was the DJ that several years ago I hired and moved from New York to Puerto Rico to entertain the agape on the occasion of the nuptials of my princess, not only because he is a great DJ.  He is also one of my favorite people.

I affirm that the turnout depends on the quality of the artists who share their talent.  And this night in reference could be summarized in a meeting of salsa connoisseurs, where DJs had no room to invent; a meeting of DJs in the New York neighborhood where Henry began his successful career as a disseminator of our culture around the world, plus a dance floor adorned with celebrities, among which I managed to highlight Debbie Mercado, daughter of salsa manager and creator of Ralph Mercado Management; Denisse, daughter of the ever-remembered mambo dancer Cuban Pete; Gucci designer Dapper Dan and New York-based Puerto Rican politician Adam Clayton Powel, Jr:  Adam Clayton Powel, Jr.

I conclude that we are still in salsa.  Fortunately, the alchemy that was given to gestate what is still known today as salsa is still alive and well in the same neighborhood where it all began.

Long live Salsa!

By: Bella Martinez “The Irreverent Salsa Writer”
Puerto Rico

WebSite: Bella Martinez

Article of Interest: Mel Martinez I come from Puerto Rico and Puerto Rico is Salsero

Erika Muñoz, official administrator of the portal “Se Armó la Rumba en México”, www.SalsaGoogle.com and International Salsa Magazine present the Puerto Rican David Morales.

Born in San Juan, Puerto Rico. Son of a seamstress and a furniture upholsterer. He began his studies at the Federico Asenjo and Albert Einstein School in Barrio Obrero where he grew up.

He graduated from Juan Ponce de Leon High School in San Jose and then entered the University of Puerto Rico completing his Bachelor’s Degree in accounting, through a scholarship that ironically he won through an audition he performed in the UPR choir.

At the age of 11 he began working delivering newspapers and years later he worked selling household products. Since he was a child he had two great ambitions: to be a singer and to be an airline pilot. At the age of ten he was already singing the songs of the orchestras of the moment such as Willie Colón and Héctor Lavoe, Ismael Miranda, Raphy Leavitt (RIP) and his Orquesta La Selecta, Roberto Roena and his Apollo Sound, Oscar D’León’s La Dimensión Latina and Oscar D’León’s La Dimensión Latina.

Dimensión Latina de Oscar D’León and Jimmy Urbina’s Orquesta Revolución 70 among others.

The first time he saw an orchestra perform in person was Orquesta Revolución 70, who sang at the Placita Barceló in Barrio Obrero and while singing their hit song Soy de Borinquén, David was fascinated by the music and discovered that his desire was to become a salsa singer someday. It was precise with Revolución 70 that David years later would be initiated into music as a singer.

Maestro Jimmy Urbina, director of Revolución 70 was preparing to record an album and it was in this way that Maestro Mario Ortiz (RIP) recommended him for the orchestra. After auditioning as a singer David joined the group and recorded an album where he sang 5 songs of the production along with singers Dino Guy and Angelo Pacheco.

During his artistic career, one of the orchestras that most captivated and inspired David was Raphy Leavitt’s Orquesta La Selecta.

With him, David had the opportunity to sing and from that moment on, the maestro became his mentor and they created a friendship that lasted forever.

In 1982 David had to give up music because he entered the military service where he achieved his dream of becoming a helicopter and airplane pilot. At the end of the 80’s he returned to Puerto Rico and returned to music, singing with the orchestras of Tommy Olivencia, Conjunto Chaney, Omar Alfanno, Manolo Lezcano, Aldo Mata, José Nogueras and Paquito Acosta. He was also a singer in the orchestras of Willie Rosario, Roberto Roena y Su Apollo Sound, Orquesta La Solución, and Orquesta Costa Brava, where he had the opportunity to record the production “A Pico y Pala”. During this same period the producer and arranger, maestro Carlos “Cuto” Soto baptizes David Morales as “El Piloto”.

David Morales as “El Piloto de la Salsa” (The Salsa Pilot), becoming known by that name within the salsa scene. David Morales had the opportunity to travel to many places around the world to sing with several famous orchestras within the genre.

He has also had the opportunity to sing as a guest with orchestras of the stature of El Gran Combo de Puerto Rico, Oscar D’León, El Gran Combo de Puerto Rico, Tito Nieves, Don Perignon and La Corporación Latina, among others.

After the passage of Hurricane María, in September 2017 David was invited to participate in the recording “Entre Amigos in the recording of “Entre Amigos Después de la Tempestad” with Luis González El Tsunami de la Salsa and Nino Segarra; production that took place together with several singers of trajectory in Nino’s recording studio.

Recently he has just recorded his first album as a soloist, under the direction of pianist, composer, and arranger, maestro Pedro Bermudez, who was David’s partner for many years in Willie Rosario’s orchestra. This production is quite varied, as it includes classic salsa, romantic salsa, boleros, and Cuban salsa, respecting the traditions of the masters and founding fathers of the salsa genre.

All the songs are oriented to the dancer.

There are compositions by Pedro Bermúdez, Ángel Santos, Peter Velázquez, Pablo Milanés, Gloria González, Jimmy Sánchez and Osvaldo Noel, Yturvides Vilchez and Michel Puche.

The arrangers are Pedro Bermúdez, Tommy Villariny, Ramón Sánchez, Carlos Torres,

Tito Rivera and Cuto Soto. It also features the participation of José Alberto “El Canario” as a guest singer in the song titled “El Piloto y El Canario”.

Thanks to all who made possible this record production which was always inspired for the dancer.

Enjoy!!!!

Facebook: David Morales-El Capitán de la Salsa

[email protected]

s[email protected]

Phone: 5529778401

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

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

Then professionally with Tito Allen and Gunda Merced (Salsa Fever).

In 1977 he started with his father at the Caribe Hilton Hotel accompanying local and international figures.

In 1979 with Willie Rosario with whom he recorded 3 albums.  He directed the album Nuevo Horizontes which featured Gilberto Santa Rosa and Tony Vega.

In 1984 he started with Mario Ortiz y Su Orquesta with whom he recorded six albums.

Mario Ortiz Jr. studied at the University of Miami in Coral Gables, Florida where he earned his bachelor’s and master’s degrees in music.

From 1991 – 1994 he traveled extensively with Juan Luis Guerra.

Mario Jr. has participated in recordings for Gilberto Santa Rosa, Tony Vega, Oscar de Leon, Ismael Miranda, Cheo Feliciano, Tommy Olivencia, Andy Montañez, and Willie Chirino among others.  He has accompanied artists such as Juan Gabriel, Raphael, Donna Summers, Gloria Estefan, Rocio Durcal, Julio Iglesias, José Luis Rodríguez, Frank Valli, Vic Damone, among other international artists.

His albums 45 Aniversario (2010), 50 Aniversario (2014), and 55 Aniversario (2019) have been nominated for a Latin Grammy.  For the past 23 years, he has worked in the public school system as a music teacher in Miami, Florida.

The late musician Mario Ortiz opened the doors of the artistic world to figures such as salsa singer Gilberto Santa Rosa. His contributions as musical director, instrumentalist, and arranger marked the careers of many artists, who did not hesitate to donate their talent for the making of the album Mario Ortiz All-Star Band, as a tribute to his 45 years of career.

Mario Ortiz, the son, summoned musicians and singers who shared with his father at a time when salsa was at its peak in the 1960s and 1970s.

The musician also managed to bring together Cheo Feliciano, Tony Vega, Gilberto Santa Rosa, Ismael Miranda, Richie Ray, Bobby Cruz, Roberto Roena, Andy Montañez, Elías Lopés and others in this record production.

“We recorded a tribute album, based on my father’s 1963 orchestra. Everyone told me that this group was ahead of its time. Some time ago, Gilberto gave me the LP On the Road (the orchestra’s first album), and that inspired me to make the record.

The first person I called was Elías Lopés and he told me to call everybody and that I would be surprised. And so it was because everyone was willing”, explained Mario Ortiz, son, in a press conference, attended by about twenty artists who recalled the times of the 60s and 70s.

The creator of the project said that the album contains 16 songs and an introduction featuring the original music of the All-Star Band, which became the first Puerto Rican orchestra to play at the Palladium in New York, where figures such as Tito Puente, Tito Rodríguez, and Frank “Machito” Grillo performed.

She mentioned that in the last track of the album, El Cid, she “played” the trumpet with her father thanks to technological advances.

Musical director Elías López and singers Gilberto Santa Rosa and Cheo Feliciano agreed that this production served as a pretext to recall anecdotes they lived together with the musician, who died on November 4, 1999.

“He was the only artist I have ever seen doing arrangements without piano and listening to other music on the other side. He had the virtue of concentrating and producing something well in advance,” said Elías Lopés.

“I had the joy of knowing Mario for a long time because he and Marito used to pick me up to go to school. I have always said that he is my dad in music…He told me to study because the music was a hobby, but when he realized my interest, he gave me that first opportunity,” commented El Caballero de la Salsa, adding that Mario Ortiz “was an outstanding musician and represents the heart of the career of many of us”.

Mario Ortiz All Star Band includes songs such as Chinita, with Gilberto Santa Rosa; Se acabó el bembé, with Ismael Miranda; Rumberito, with Bobby Cruz and Roberto Roena, and others.

Source: Primera Hora, Puerto Rico. By: Jaime Torres Torres

At the age of 64, trumpeter Mario Ortiz was a man brimming with health and life. Death took him by surprise on November 4, 1999.

Thus came down the curtain on one of the most brilliant careers in Puerto Rican salsa and jazz.

His wake was attended by practically all the musicians of the country to bid farewell to the virtuoso trumpet player, accomplished arranger, and experienced orchestra conductor.

His son Mario Jr. inherited part of his arrangements because the maestro was so generous that he gave his music to his friends and colleagues. To commemorate his memory on the 10th anniversary of his passing, Mario Jr. celebrates his father’s contribution to salsa and Latin jazz with the historic recording “Tribute”.

“I was able to transcribe the arrangements that I didn’t have and thus confirmed what the musicians at the wake were saying in terms of his music being ahead of its time. With the help of Lenny Prieto, Ernesto Sánchez, and Tito Rivera I was able to decipher what Papi did in terms of harmonics and rhythm,” said Mario Jr.

In “Tribute” Mario Jr. recorded without alterations the orchestrations and arrangements of “A quitarse”, “Yaré yaré”, “Chinita”, “Move”, “Se acabó el bembé”, “Mambo infierno”, “Güiro y pandereta”, “El soplo”, “Rumberito”, “Que bonito es Puerto Rico”, “Maina” and others.

“What I did to make them sound more harmonically updated was to extend the duration with more participation of the singers and with additional solos and moñas,” he explained.

Coining the name “All Star Band”, as his father’s group was known during the 1960s, Mario Jr. brought together a core of the most respected soneros and instrumentalists in salsa.

On “Tribute”, arguably the Afro-Antillean music album of the year, Cheo Feliciano, Andy Montañez, Gilberto Santa Rosa, Ismael Miranda, Adalberto Santiago, Tony Vega, Chico Rivera, Pedro Brull, Tito Allen, Primi Cruz, Anthony Cruz, Ismaelito Rivera and Bobby Cruz joined their talents.

And, representing the musicians, he recruited as soloists Papo Lucca, Bobby Valentín, Richie Ray, Elías López, Roberto Roena, and others.

None of the artists were paid, out of respect for Mario’s memory and in reciprocation of their friendship.

“It’s incredible. Elías was the first one I told to do this. He was so happy that he suggested I call everyone who knew Mario. And Gilbertito quickly said yes because his first recording was with Papi.”

The presentation of “Tribute”, in honor of the forty-fifth anniversary of the founding of the All-Stars Band, was held yesterday at the Alquimia Bistro Restaurant in Condado.

The album, a Zamora Music Group production, will be distributed by Sony Music. The first single is titled “Chinita” and is performed by Gilberto Santa Rosa.

“Sony is interested in my project because Gilbertito interceded on my behalf. He wanted to release it with his label Camínalo, but he thought it would have more possibilities with a multinational”.

Source: https://www.radioelsalsero.com/2009/09/se-viene-la-mario-ortiz-all-stars-band.html

Articles of Interest: Celso Clemente Torres is considered one of the best sounding bongos in the world

By: Diana Marie International Salsa Magazine Correspondent

I have known DJ. Andy since he was the resident DJ. at the Embassy Suites in Isla Verde (Puerto Rico) for the salsa nights that I remember attending religiously every Saturday.

However, everything changed when one Saturday night we went to the weekly event as usual.  There we realized that DJ Andy was no longer there.  They say that necessity is the mother of invention.  It must have been out of sheer necessity that the man who would later become DJ Louie Love suddenly learned to play records on his own and without having planned it quite abruptly.

So, years later, destiny took me to the American capital because of a highlight of which there is no longer only the memory.  From that highlight that I would like to forget, in Washington, DC I remember with a deep affection to have met again with the one who had already been called “the most danceable”: DJ Andy.  Life and its twists and turns, we lost track of each other again until one day during one of my missions to New York I decided to go for a little dance without knowing that there I would meet again with DJ Andy.  Andy was already making his way in the Big Apple, the same place where salsa was cooked more than half a century ago.

Anyway, what we came to, to share with you my impression of the third album in which DJ Andy immerses himself in a parallel way in his facet as executive producer.  So, I am reviewing this catchy collection of fifteen tracks because I loved the programming and the variety of what I consider a very complete album, while achieving a first class musical performance.

Consejo Salsero (Venezuela All Stars)

Despite being performed by Venezuela All Stars, the arrangement of this salsa song is in the best New York style and very well done.  The title track opens the listener’s senses in an invasive but good way; something like a sure way to arouse curiosity about the production and the tracks that follow it.  Marcial Istúriz is as always a sure shot.  Good voice, impeccable rhythm and one of those sonorous sounds that could make him the new owner of sonorous music.  I summarize here from my corner without offending anyone, Marcial is a great sonero.

The son came to the city (Secreto a Voces)

If not the most, one of the most danceable songs of the production. Bravo!

Como se atreve (Renzo Padilla y su orquesta)

The singer’s voice is fresh and synchronized with the kind of lyrics that ask for another chance and shout sincerity.  Before the second minute, the bongo takes over the transition announcing the mambo and the take-off of the “trip” injected by the pregones and the play on words in the soneos.  The winds are carried by a trombone played with cleanness and precision.  The end is announced with a percussive interplay between the winds and the piano, which almost takes center stage without dulling the leather beats.

Señora Rumba (Julio Cortez and his court)

The singer, once again, fits the theme like a glove, since his voice recalls the metallic melody that a bravo theme requires.  The piano harmonizes perfectly with the coros and percussion.  Here there is a perfect harmony between piano, conga and timbales. It seems to me that I hear a xylophone flirting with the conga, without detracting from the piano.

Mary Juana (Carlos Guzmán y su orquesta)

The introduction of the song reminds me of the arrangements of the glory days of Orquesta La Solución, but with a bongó playing in the arrangement.  The trombones announce themselves early on and ask the bongo for permission to join them around the first minute.  The piano harmonizes and gives way to the brass without conflicting with the musical change that around the third minute adopts a style of those with which Wayne Gorbea established his sound.  Masterful the way in which the arrangement moves through varied styles without running over the flow of the music.

Salsa pa’ ti (Grupo Tahona)

This is a very heavy song, one of those that starts with the chorus without shyness.  The boldness of the arrangement threatens to go straight to the mambo in a very elegant way.  A gentle piano solo crosses over from a minute and a half in.  The piano solo gives way to a melodic trumpet solo that doesn’t allow screaming.  The conga takes the lead from just before the third minute, making sure that the brass does its thing, in anticipation of the return of a piano that dictates the chords of the distant line.  All in all, this is a very tasty track.

Quiéreme (Gumby Navedo and his orchestra)

The interpretation sounds great and the singer’s voice is one of those indisputable and unforgettable ones.  The lyrics are worthy of the interplay between the saxophones and the rest of the wind instruments.  At three and a half minutes the pregón changes with a lot of class and distinction before handing over to the saxophones at the end to give way to the closing, which the cueros make precise.

I come from New York (Son del monte)

The flute enters quite early and quite forcefully.  The violins match the flutes and the typical charanga bell ringing.  I imagine that Andy wanted to include a variety of rhythms within the range of Afro-Caribbean rhythms and manages in the process to give us a complete collection.  Even dancing pachanga doesn’t let us forget. Thank you!

Vengo del Congo (Julio Estrada y su orquesta)

The arrangement of the song is one of those classics that could be used as an example to demonstrate the salsa sound without pretension or fuss to anyone who has never heard salsa before.  At two and a half minutes, Julio Estrada plays a heavy piano solo before the mambo enters in all its splendor.  Winds, timbales, conga and piano come together to take us on a journey into a synchronized, non-competitive melody.

Pa’l bailador (La Negramenta)

The introduction of this unquestionably salsa song gives prominence to the baritone saxophone in a flirtation that walks between salsa and boogaloo. However, the boogaloo sound is short-lived, giving way to a well-defined, traditional salsa.  At the third minute, the trumpets enter in correspondence with the percussion. At minute 3:45, the conga takes over the distant line, giving way to the trumpets and timbales, announcing that the song is elegantly descending in intensity.

El rumbero (Leo Pacheco Jr. y su orquesta)

This song wants to highlight the essence of African music within the salsa music made in Venezuela.  This arrangement seems to be inspired by the evolutionary inventions that today are a winning formula.  I am referring to the adjustments that Bobby Valentín made, at the request of maestro Willie Rosario.  The big difference is that this arrangement is somewhat louder than the ones that started this formula several decades ago.  The trombone and conga take over, anticipating “salsa, guaracha y bembé” as the song says.

Nací pa’ cantar (Wiwi Buznego y su orquesta)

The song is pure salsa, conga, pregones and lots of rhythm for the dancer who responds to a fluid arrangement without much distraction.  The first significant percussive cut that captures the dancer’s attention hits the senses at minute fifteen (1:15).  From then on, the performer plays between conga beats, trumpet blasts, pregones and soneos.  The mambo is unforgiving and if the dancer lets himself be carried away by the music, he can feel it to the last drop of blood running through his veins.

Camina y ven (Charanga Masters)

A Cuban song from the heart made in the best charanga format, taking into account that technology allows to improve the sound of the past.  The flute and violins play with the percussion in a daring way, modernizing what was the charanga in its original form.

Mi propuesta (Robert Burgos and Descarga Zason)

The closing track travels to Cuba in pure timba sound.  The singer harmonizes perfectly with the arrangement and the execution of the orchestra, his voice being the typical Cuban voice that stands out in timba format.  Very successful to close the trip of the compact disc with timba.  Very well achieved farewell.

Although the release of this CD was in 2019, for me it is new.  So I take the trouble to assure you that if you listen to it you will love it.  If you dance, you’ll wear out your sole.  And if you don’t, you’ll be encouraged to learn to move your skeleton to the rhythm of this tasty treat.

 

Thanks, Andy, congratulations!

Facebook: Andy Rodríguez

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

Puerto Rico

WebSite: Bella Martinez

Article of Interest: From Italy Albert Giorgio Giovanni DJ. Lindo Salsa and Bachata