Search Results for: Son

Bogotá Dances To The Rhythm Of Son Salome

Latin America / Colombia / Bogota

Son Salome, a name governed by the main genre of Cuban popular music, Son, and the memory of the great Poet/Writer Lou Andreas-Salomé, is defined as a Bar with a dance floor, also defined as a large disco, open to lovers dance, connoisseurs of good Latin music as well as for those who wish to attend to enjoy the right environment for a night of guaranteed enjoyment, with first class attention offers visitors a high level of security, highly trained staff , which seeks to provide a space for enjoyment.

Photo 1: Dances To The Rhythm Of Son Salome

During my visit I was able to enjoy the best options in services, cocktails, drinks and first-class drinks, the reference given by the famous Chepe, owner and personality of the city’s salsa world, was to enjoy the specialty, the Cuban Mojito, a house cocktail that will take you to visit the Island of Cuba without getting up from your seat.

This great bar offers us a varied itinerary during the weekends, starting with Cuban music on Thursdays where you could coincide with large groups, on Fridays with the best DJs in the country closing on Saturdays and Sundays with great salsa, Cuban and even beautiful folklore of the country, singers or musicians of the first gala will make your stay a night class moment.

Photo 2: Dances To The Rhythm Of Son Salome

With 34 years of foundation, Son Salome offers a well-distributed place, with a large space to dance or enjoy a good group, a first-class toilet and, above all, an open space to spend a beautiful evening. We can only recommend you to visit Son Salome located in the center, a few meters from the main means of transport in the city, the Transmilenio at its Aguas station, exactly on Calle 19 # 4-20, in a sector called to be the future of Bogotá, due to the number of constructions that are currently under development, opens continuously from Thursday to Sunday from 6:00 pm, you can learn a lot about this beautiful place through the social networks:

Facebook, Instragam and Google through Son Salome, the Latin reference number 1 in the city.

Photo 3: Dances To The Rhythm Of Son Salome

For more information contact them through:

Facebook: https://www.facebook.com/sonsalome / https://www.facebook.com/pages/SonSalom%C3%A9-Caribe/1396835567299952
Phones: +57 2432506 / +57 3005707722

Beatriz Márquez Castro, an exponent of romantic songs, “Feeling” and Bolero

Beatriz Márquez Castro is a singer, composer, and pianist, born on February 17, 1952, in Havana.

Beatriz Márquez Castro. Cantante, compositora y pianista

She is the daughter of the prestigious composer and performer René Márquez. She began her artistic career in 1968.

An exponent of romantic songs, “feeling,” and bolero, she gracefully delved into these genres, performing pieces by prolific authors such as René Márquez, Marta Valdés, Juanito Márquez, Silvio Rodríguez, and Germán Nogueira, among others.

Her mezzo-soprano range has enabled her popular “descents” to low tones, as well as her unexpected and no less appreciated “ascents” to much higher tessituras, without losing her defining style. This style is very appropriate for songs and boleros, genres in which she has remained one of Cuba’s leading cultivators.

She is known as “La Musicalísima.”

We are witnessing the realization of a long-cherished project with which the performer, pianist, and composer Beatriz Márquez settles a debt both on a family level and within Cuban discography.

After several years of searching through archives and old recordings, thanks to the collaboration of Cuban audiovisual producer Felipe Morfa, it was possible to prepare “Este encuentro” (Colibrí Productions, 2023). This album features a selection of known and unreleased pieces by singer and composer René Márquez Rojo (1914-1986), some of which were popularized in their time by internationally renowned figures like Antonio Machín or the Puerto Rican Daniel Santos, to name just two examples.

Beatriz Márquez Castro, an exponent of romantic songs, "Feeling" and Bolero — Beatriz Márquez Castro, an exponent of romantic songs, “Feeling” and Bolero

Given the influence René had on the career of his daughter and grandchildren, this is an album full of love and, above all, gratitude.

While he was best known for his songwriting, it is important to highlight the mark he left as a charanga singer.

Among others, we can mention his work with the charangas of violinist Cristóbal Paulín, Oscar Muñoz Bouffartique, and René Touzet.

He debuted at the Mil Diez radio station with the group led by Julio Cueva, to which he dedicated himself for ten years.

From the late 1930s onwards, the lyrics by the artist from Villa Clara quickly resonated with the public.

“El Inquieto Anacobero” recorded “El disgusto de bigote” with the Sonora Matancera in 1949 and also sang other Cuban songs such as “Soltando chispas,” “A San Lázaro,” and “El granito de maíz.”

René’s songs, among which “El quinqué” cannot be missed, speak of his natural ingenuity for storytelling.

Upon his death at 72, he left a musical legacy that has since been defended by his descendants.

In over five decades of her artistic life, Beatriz has become her father’s most faithful interpreter, having recorded songs for several albums such as “No respondo,” “Explícame por qué,” and the now famous “Espontáneamente,” initially included in the LP “Es soledad” (Egrem, 1970) and re-recorded on multiple occasions.

In “La Musicalísima”‘s discography, prior to this material, there were only two phonograms exclusively dedicated to the work of a single author: “Beatriz canta a Juan Almeida” (Egrem, 1978), followed forty years later by “Libre de pecado” (Colibrí Productions, 2018), a tribute to maestro Adolfo Guzmán, thus contributing to the rescue of the island’s musical memory.

“Este encuentro” spans traditional trova and moves from guaracha to son, without forgetting some of the composer’s most notable boleros.

It also allows us to appreciate René Márquez’s interpretive qualities by hearing his voice, rescued from old recordings.

The special participation of singers Evelyn García and Michel Maza, continuators of the family saga, is noteworthy.

Now, the 2015 National Music Award winner and the main architect of this phonogram invites us to explore René Márquez’s immense body of work, one that will by no means be forgotten, across eleven tracks._ Jaime Masó

Beatriz Márquez – Este Encuentro (2023)

Tracks:

Este Encuentro
La Vida Es Un Momento
Muchachito Inocente
No Respondo
Nunca Habrá Distancia
Soltando Chispas
En El Cielo De Mi Vida
Imposible Amor 09. Popurrit 10. Espontáneamente 11. Mi Placer

By:

L’Òstia Latin Jazz

Augusto Felibertt

Ecured

Instituto Cubano de la Música

Also Read: Enrique “Culebra” Iriarte, master of the piano and musical composition

5 years to the Son of La Salsoteca of the moment, Lavoe

Latin America / Ecuador / Quito

On April 14, 5 years ago, a trend arrived in Quito. We will talk about a space that came to fill the great void in the salsa dancers of this beautiful capital, an alternative that became fashionable, a fashion that became customary and customary has become culture, how not to refer to Lavoe the site of meeting of Salsa in Ecuador.

This great Salsoteca has the perfect environment for lovers of good salsa and bachata, a context armed with paintings of the most important figures of Latin Caribbean music in the world, many of them autographed during their visit to this palace of dance, Well attenuated colors for an incredible freshness, a first class service that makes you the main artist of the night, we are talking about a 100% safe environment full of friendly people and ready to give you a fascinating moment.

Lavoe opens its doors from Tuesday to Saturday to offer you a week full of options, Tuesdays with romantic salsa, Wednesdays with the best of salsa brava with tributes to those great salsa singers of all time, Thursdays and Saturdays with Salsa and Bachata and Fridays with concerts by national and international orchestras, every day from 9:00 p.m. to 12:00 a.m. with access only for adults.

In this same order of ideas, Lavoe maintains an annual festive calendar where we can count on special events during the year, concerts, talks, great festivals of orchestras and dance schools for 3 months of the year, closing with the great anniversary party where we can delight in the best rumba of the year.

This Salsoteca has earned the affection and appreciation of all of Quito not only for its excellent services and large spaces, but also for being an icon of contribution to the professional growth of all schools in the city, generating support activities for trips and participation in festivals. and congresses in the world where they manage to position Ecuadorian talent, already demonstrated by reviewing the trajectory of this beautiful country in congresses and salsa world championships.

Lavoe makes donations and imparts a culture of union and joint work among all these academic entities dedicated to the dissemination of Latin music in the capital, all guided by its main objective, to make the visitor enjoy a space dedicated to dance.

It is incredible to see how hundreds of people can enjoy good music, share and enjoy an environment adapted to this great discipline, from a professional dance floor made of eucalyptus wood with an air chamber to protect the dancers, to the perfect selection and location of furniture, tables and chairs, leaving the entire center of the premises for the main goal to be covered day by day, to ensure that visitors enjoy an ideal space to move their bodies.

Upon entering the venue, friendly staff who are happy to be part of this project welcome you, locate you and serve you from early in the evening. impossible to take risks in a family environment and friends who already have this night space as their great dance house, you can see adults from all walks of life, dancers, dancers, relatives of dancers, parents, grandparents, families themselves complete that can easily enjoy dance shows and night shows without having to have special conditions for it.

Our friend Diego, owner and main helmsman of this festive boat, tells us “… Lavoe was created with the concept of family, of a given space for sharing and dancing for all sectors of the city, we are inclusive, everyone has a place in this my house, your house…” and boy, do they take it seriously, there are no special conditions in clothing, nor preferences of color, creed or social race, everyone is welcome, yes, the only condition is to come wanting to dance, do it well, do it wrong, whether you know it or not, don’t worry the space is ready for it.

The surprises are present throughout the night, we can see the Barthender and waiters dance with the attendees, well yes, here every human being must participate in the atmosphere, how not to do it if even the staff that works is obliged to accept their invitation to dance, and beware, accept theirs, they know how to do it, they are great characters in this space, in a moment they receive you or serve you a cocktail and in a few minutes they could be enjoying a good piece of music with you.

Attend and join the great choreography that can be performed when listening to Salsa Choque, or enjoy listening to the crowd chant a good song or the show that is put together at the bar, it is an environment for the enjoyment of all generations, grandparents , parents, children and grandchildren, all together in a space of enjoyment, that is how Cristian Pérez, the founder dancer of Lavoe, told us, he has been attending for 5 years and does not stop doing so, he says ”

… during his 5 years he refers to a meeting space of the salsero of the city, I attend up to 3 times a week since there is no cost to enter, I can come with any of my friends, we all had a great time.”

Iñaquito and United Nations is located next to the Primax gas station, you can find it on Facebook as SalsotecaLavoeQuito, website www.salsotecalavoe.com and by Phone +593 993210464 do not stop attending, join the fashion of the capital of the center of the world, be part of this beautiful experience, there are two floors of pure enjoyment Lavoe awaits you.

For more information:

WedSite: https://www.salsotecalavoe.com/
Facebook: SalsotecaLavoeQuito Twitter: salsotecalavoe

The multifaceted Aymée Nuviola delivers her ‘Corazón Sonero’ to Puerto Rico, at the historic Tapia Theater in Old San Juan

Pete Perignon’s orchestra kicked off Aymée Nuviola’s concert, entitled Corazón Sonero, with a powerful Latin jazz introduction. During the first minute, the instrumental melody settled into a salsa key, giving way to the voices of Lorna Marcano and Ricely Colón, who chanted: “Yo te invito a bailar y a gozar con Aymée, la sonera del mundo” (I invite you to dance and enjoy with Aymée, the sonera of the world). The chorus duo of Marcano and Colón prepared the theater for the triumphant entrance of the voice of La Sonera del Mundo.

La multifacética Aymée Nuviola Imágenes Conrado Pastrano

As the curtain rose at the historic Alejandro Tapia y Rivera Theater in Old San Juan, the stage design by José “Quenepo” Ramos Vega, which revealed two transparent fabric borders held in the middle by an imposing white star, caught the attention of the audience. The red of the triangle of the Cuban flag was represented by the pendant unfurled to the left of the star, while the cloth representing the Puerto Rican flag was held on the right hand side of the same star. The inspiration of the design demonstrates that the Cuban and Puerto Rican flags are fraternal twins.

The opening lyric that resounded in the theater, which was filled to capacity, with the vocal power of Aymée Nuviola read: “A little bit of good salsa, a little bit of pure salsa, so that new people, get to know our culture”. From then on, the music obeyed Nuviola’s command, singing: “Let the clave get into your body, let the conga and the bongo move the floor”. Sure enough, three hours later we were still letting the stage delivery of the musical team continue to move the floor. Pete masterfully directed: Jean Carlos Camuñas on tumbadoras, Carlos Pagán on bongó, campana, güiro and maracas, Miguel Camilo on piano, Jorge Rivera on bass, Pedro Marcano and Víctor Ambert on trumpets, César Ayala and Léster Pérez on trombones and Saviel Cartagena on tenor and soprano saxophones.

Ten minutes into the music under the direction of the leader of the generation of the present, as timbalero Pete Perignon is known on Puerto Rican soil, Aymée greeted the audience with a heartfelt, “¡Buenas noches, Puerto Rico!” She thanked the attendees in a candid manner for joining her, while making jokes about how heavy her dress was as she elegantly adjusted the flounce and wings of her sleeves. She also commented on the design of the theater, inaugurated in 1832.

Gilberto SantaRosa y Aymée Nuviola Imágenes Conrado Pastrano

That first conversation with the audience served to connect with a: “we are survivors”, in clear reference to the COVID-19 pandemic, shortly before quoting Celia Cruz saying: “As Celia said so well: ‘Thank you Puerto Rico, for lending me your flag’. She also recognized actor Willy Denton, who played Pedro Knight when Aymée impersonated Celia Cruz in the soap opera Celia and who was among those present.

Nuviola boasted of having reached the fifth floor, as she recounted that she was going to record her version of ‘El ratón’ with Cheo Feliciano, whose unexpected death thwarted the long-awaited collaboration. However, Aymée decided to record it anyway, in order to pay tribute to Señor Sentimiento. The evening’s repertoire included: ‘Un poco de salsa’, ‘Salsa con timba’, ‘Yo sé que es mentira’, ‘El ratón’, ‘La tierra del olvido’ and ‘La gota fría’.

Many remember Aymée for her character of Celia Cruz in an acting performance that marked “a before and after” in the singer’s career. This was acknowledged by the actress, shortly before paying tribute to Celia, with her versions of ‘Cúcala’ and ‘Quimbara’, in addition to performing a medley of some of the songs with which Celia was crowned the Queen of Salsa. The medley included ‘Toro mata’ and ‘Bemba colorá’, among others.

The concert included a bohemian part during which Aymée accompanied herself on the classical piano to share with us her passion for the filin. The selected repertoire was: ‘Obsesión’, ‘Bésame mucho’, ‘Me faltabas tú’, ‘Perfidia’ and ‘Lágrimas negras’.

Before performing ‘El espacio’, of her own composition, and accompanied by Miguel Camilo on piano, Aymée said that the song was inspired by “someone else’s skeleton”, as the composer described it. Aymée emphasized that ‘El espacio’ is not dedicated to her husband. Between jokes and laughter, the sonera shared with those present her love story with Paulo Simeón, while acknowledging the presence of Fabio Díaz Vilela, who was the owner of the place where the couple met more than 14 years ago. Aymée expressed her gratitude to Fabio, for also having been a great support for the career of the producer, “from day one”.

The climax of the concert came as the sonera took off ‘El cuarto de Tula’, Gilberto Santa Rosa -who was among the attendees- went up on stage to duet with Aymée, between each soneo to describe the scope of the talent of the Cuban who gave her sonero heart to Puerto Rico. El Caballero de la Salsa was also able to tell La Sonera del Mundo the fascination that the Puerto Rican public has for her. For their part, Aymée’s soneos expressed to Gilberto the admiration she has for him for being “a great maestro”.

The repertoire of this last section included the songs ‘Fiesta’ and ‘El manisero’, which incorporated correspondences between the singer and the pianist. The coda of ‘El manisero’ coincided with the closing of the curtain, while the audience shouted “another, another, another”. The ñapa corresponded to ‘Chan chan’, a song included in the album that won Nuviola a Grammy for his production A Journey through Cuban Music. The interpretation was sprinkled with the strength brought by the trumpets of Pedro Marcano and Víctor Ambert, along with the trombones of César Javier Ayala and Léster Pérez. Chan Chan’ announced the farewell with which Aymée Nuviola’s energetic “God bless Puerto Rico” resounded as the curtain came down on her first solo concert on Puerto Rican soil. For my part, I reciprocate: “God bless Aymée Nuviola and her team (including Paulo Simeón and Luis Solís)”.

Here in the Island of Enchantment we are pleased to know that Corazón Sonero has consolidated this high-end artist, whom we already consider our own.

Images: Conrado Pastrano

Also Read: Mel Martinez I come from Puerto Rico and Puerto Rico is Salsero

From Cuba El Septeto Son de Nipe come Abriendo Caminos (Opening Paths)

Son de Nipe. A musical septet born in the municipality of Antilla, it burst into the cultural world with an album of the In Situ label of the Colibri Record Production Company.

Antilla is the smallest municipality of the province of Holguin in Cuba and one of the smallest of Cuba, it was founded on January 21, 1925, it is famous from distant times for its beauty, legends and original aspect.

De Cuba El Septeto Son de Nipe vienen Abriendo Caminos

The group is formed by former musicians of the orchestra Brisas de Nipe of this municipality.

This project was born from the hands of Porfirio Núñez Cruz (Firo) who as Art Instructor at the Casa de Cultura Adelaida del Mármol of Antilla had experimented with other amateur groups, but not with the same results, because the members did not have the necessary musical training.

The album Abriendo Caminos includes 14 songs, 10 of which belong to Antillean authors.

“The value of Abriendo Caminos also lies in the fact that it helps Antillean composers and arrangers to open up to the recognition of their work and ways of doing things”.

From the singer and percussionist of the septet Son de Nipe, Alejandro Arencibia appears the guaracha Esa muchacha quiere bailar and the son, Honor al Guayabero; from Edalio Espinosa Alayo (Pupi), former member of the Brisas de Nipe orchestra, the son, Es caliente como el sol (It’s hot like the sun).

The songs A mi Antilla (bolero-son) and, Y no me niegues el beso (son) by José James Pinder, singer of the septet. By Oscar Fernández, former singer of the Brisas de Nipe Orchestra, the disc offers the themes Rebozo de amor (guaracha) and the son Que lástima.

From the director of the septet Son de Nipe Porfirio Núñez Cruz, Mi son tradicional.

And the guaracha Olvídate de esa nena by the Antillean composer Nemesio Palacio.

The remaining four musical numbers are; De que callada manera by Nicolás Guillén and Pablo Milanes, Culpable by Pepe Delgado, Rabo de nube by Silvio Rodríguez and Una alborada de amor by Ariel Dotres Zaldivar, these songs were arranged by Porfirio Núñez Cruz.

In the septet’s album Son de Nipe Abriendo Caminos “the guaracha, the bolero, the bolero-son and the genuine son are retaken with originality and revalued”.

The latter is due to the fact that the musical criteria followed by its director was the respect for traditional music, its deep knowledge, but imbuing it with very contemporary nuances, which results in a seal that distinguishes the septet Son de Nipe.

“We use the son, but more updated because we make innovations, harmonizing it in a more modern way, without losing its roots”.

The selection of the songs that made up the album Abriendo Caminos was in charge of the septet’s management, since the Casa Discográfica Colibrí wanted originality and the authentic exhibition of the work that has been developed with traditional music in the eastern part of the country.

The graphic image of the disc, worked in sepia and black colors fundamentally manage to set the atmosphere that is offered to us with a vintage flavor and invites us to listen to these 14 songs full of tradition and contemporaneity.

“It will be a delight for the listener and the dancer, the good function of the tres in its solos and “entregas”, the beautiful and ingenious introductions, the exquisite mixture between text and music of the boleros, the harmonic patterns of the soneros that not for conventional reasons give up a significant finish, without neglecting, on occasions, the voices replacing wind instruments”.

The selection of the members was meticulous. Porfirio had in his favor the prestige he possessed and the convening power among his former colleagues of the Orquesta Brisas de Nipe, so much so that in the list of his group he planned to include Reyes Cástulo Urgellés Fáez, better known as Lulú as bassist and José James Pinder (Joseíto) as singer, both retired from the Orquesta Brisas de Nipe and linked to the Casa de Cultura in occasional activities.

The septet still needed to be completed with a key piece, the tres, for which the prestigious Mario Arencibia Rodríguez, one of the best tres players in Antilla, was summoned.

In the Arencibia family, musicians abound, that is why the group was completed with them: Alejandro, singer and Rafael on the tumbadora.

Alejandro and Mario had been part of an amateur group called Renovación Antillana for more than 20 years, which was very famous in its time and where a great number of aficionados were formed.

Alejandro sometimes played the tres in other groups, but in Son de Nipe he remained as a singer, he also had a work relationship that did not allow him to devote himself entirely to music; His nephew, trained at the Casa de Cultura and under the musical influence of the family, had taken over the tumbadoras, so Rafael Arencibia was the youngest of the group, he was barely 25 years old and at this young age he had already played in several amateur groups and got the Brisa de Nipe orchestra out of trouble, due to the unexpected absence of its percussionist.

Rafael Arencibia Rodríguez joined the project with enthusiasm despite the fact that the genre and style of the repertoire were not those used by the amateur groups of his contemporaries.

Iro had obtained the desired musicians, but he still had a big step to climb, his musicians were not professionals, they all had work commitments and he needed to prepare the project for the right day…(ecured).

Septeto Son De Nipe – Abriendo Caminos (2006)

Temas:

Esa Muchacha Quiere Bailar (Alejandro Arencibia)
Es Caliente Como El Sol (Edalio Espinosa Adayo)
A Mi Antilla (José James Pinder)
Rebozo De Amor (Oscar Fernández Paz)
De Qué Callada Manera (N. Gillén / Pablo Milanés)
Honor Al Guayabero (Alejandro Arencibia)
Culpable (Pepe Delgado)
Mi Son Tradicional (Porfirio Núñez Cruz)
Y No Me Niegues el Beso (José James Pinder)
Clodomiro (Oscar Fernández Paz)
Rabo De Nube (Silvio Rodríguez)
Qué Lástima (Oscar Fernández Paz)
Una Alborada De Amor (Ariel Dotres Zaldívar)
Olvídate De Esa Nena (Nemecio Palacio)

Septeto Son De Nipe - Abriendo Caminos (2006) — Septeto Son De Nipe – Abriendo Caminos (2006)

Research Sources:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Virgilio Martí was an excellent rumbero and composer of the classic “Cuba Linda” where he was vocalist and percussionist in Grupo Folklorico Experimental Newyorkino