Search Results for: Sonora+Matancera

Julio Vilchez and his orchestra conquer Miami

Peru continues to give us something to talk about thanks to all the salsa talent coming out that country in recent years and today we had the opportunity to talk with one of them, which is the producer, composer and singer Julio Vilchez.

After we communicated with Vilchez via email and WhatsApp to schedule an interview, we have managed to have a great conversation in which we knew a little more about the artist’s beginnings in this fascinating world that is music.

This is Peruvian producer, composer and singer Julio Vilchez

Childhood and musical roots in the Vilchez family

It is not surprising that Vilchez took that parth of life considering that his father, Juan José Vilchez Sanchez, was a talented actor, comedian and professional dancer who carried music in the blood and ran some of the most famous salsa clubs in the city of Lima, which served as a stage for important national and international groups and singers of all genres.

Having referred with admiration to his father because of all that he achieved in life thanks to music, he assured that music definitely ran through the veins of his family and had always been a very important part of his childhood and youth.

Seeing all this, the years were not many when Vilchez became interested in musical instruments such as maracas, the bongo bell and the güiro, which led him to participate in groups such as Raíces, La Fragua and Soy Calidad.

Salsa and other genres

A large majority of Peruvian artists whom we had the honor to interview have typically ventured in Peruvian Creole music before getting involved in salsa, but not Vilchez. In fact, he pointed out to us that his country was heavily influenced by Cuba musically speaking and there used to be a time when groups from the island visited Peru such as La Sonora Matancera and Los Compadres. Peru also received influence from Colombia, Venezuela and Puerto Rico, although to a lesser extent.

The artist also remembers that, at home, he and his family always used to listen to Venezuelan singers and orchestras such as La Dimensión Latina, Oscar D’ León, Luisito Quintero, Nati Y Su Orquesta, among others. In the case of Puerto Rico, of course Vilchez and his family used to listen to La Fania All Stars.

Vilchez was part of Raíces, La Fragua and Soy Calidad — Julio Vilchez was part of groups such as Raíces, La Fragua and Soy Calidad

Formal beginnings of Julio Vilchez in music

In the neighborhood Vilchez and his family lived in, the singer made friends with other local boys and met up with them to sing in a completely amateur way. In addition to that, he liked to participate in school talent shows, in which he delighted the crowd performing songs from Oscar D’León, Rubén Blades and Willie Colón.

After attaining the age of 17, he began working alongside his father in the business of running clubs, which gave him the opportunity to spend time with the members of the orchestra La Progresiva del Callao, who performed on Tuesdays, Wednesdays and Thursdays in one of those places.

Since Vilchez loved to dance and the orchestra focused a lot on its choreographies, the young man identified himself a lot with the group and began to learn the steps the singers performed on stage. One day, the boys saw him dancing and invited him to sing with them in one of their shows, in which he danced very well, but he did not sing in the best way. For this reason, he got the opportunity to stay permanently in the orchestra, but only as a dancer for the moment.

Over time, he was grabbing experience on stage and getting over stage fright until he managed to keep up with the rest of his orchestra fellows with the passing of days.

Julio Vilchez with Cano Estremera — Julio Vilchez with Puerto Rican salsa singer Cano Estremera

Vilchez’s time in Venezuela

Vilchez made friends with a group of Venezuelan musicians who accompanied Oscar D’ León in one of his concerts and invited him to travel with them to Venezuela because they wanted him to be part of the sextet they were going to create, which was meant to perform at a tavern in Caracas.

Seeing that things were going well in Venezuela at that time, Vílchez decided to accept the invitation and immigrate to the South American country to try his luck. Once there, he spent a lot of time alone because the boys from the sextet traveled a lot, something which took advantage to get to know other groups, one of them being La Selecta de Cúa. One day, Vilchez was walking down the street and heard this orchestra rehearsing, but it needed a singer. That is when Vilchez proposed himself as an option, was admitted and worked for about two years in this orchestra.

Although he did well in Venezuela, he ended up returning to his native country because he missed his homeland and his father could not get used to having him away, so he packed suitcases and decided to return.

Cover of the album Tributo al Caballero by Julio Vilchez

Life in the United States

One of the songs he released in 1995 led him to make a video clip, which started to become very popular on music channels and shows, giving him the recognition Vilchez aimed for so long.

Since things were not going as he expected on his solo career, he joined the Orquesta La Novel to continue working on music for the next two years. Although his name was not as well known as Vilchez needed it to be, his song was still sounding loud internationally for quite some time, which led him to receive a proposal to perform eight shows with his orchestra in the United States in 2000.

When Vilchez and the rest of the musicians traveled to Miami, about nine members of the orchestra received proposals to stay in the country and decided to accept. It was there where the artist gathered his courage and says to himself ”I’m staying too”. That was over 24 years ago now.

At that point, the Peruvian had to look for other musicians to replace the others in order to finish the concert tour they had scheduled. It was then when he contacted José Alberto ”El Canario” through a Peruvian colleague of his to use his band for the remainder of the tour and so he did. Vilchez did two or three shows with this band and stayed in Miami from 2001 to 2004.

Given the lack of musical proposals, he spent a few years in New York, but returned to Miami some time later to work both with music and with a business sector linked to gastronomy, since living only from music is complicated. In addition to that, his children live in Miami and he wanted to spend more time with them, so this was also a powerful reason to return.

Antonio Laya a traditional artist

Latinoamerica / Mexico / Cancun

Antonio Laya “He tells us a little about his new single Abre que voy”

Today we are pleased to learn a little about the life of Antonio Jose Laya Gonzalez (Antonio Laya), a Venezuelan who with his voice and his particular way of dancing has managed to climb and carve his way to success, this Taurean with a great career as a singer of good salsa and especially son, he presents us his new single, abre que voy, a success that has gradually positioned itself on the best musical platforms from his current hometown, the beautiful city of Mexico.

Good afternoon friend Antonio, thank you in advance for the time you give us to learn a little about your life and give our great readers a little about your son, but in letters, we know from your artistic review that you come from a cultural world. the dance? Why the singing?

I come from a family of musicians, teachers and athletes, in 1995/96 I started in the popular culture workshops of the “Fundación Bigott” (cultural house of great social impact in Venezuela) in the Afro-Venezuelan percussion workshops with Professor Jesús Raúl Paiva, where he gave me the opportunity to enter this world of culture…

Years later this would bear fruit, when I joined the Vasallos del Sol group, a representative entity of Venezuelan folklore, on one of their tours in Europe “Germany” to be exact, one of its dancers stayed, leaving an open vacancy, it was then that I received the invitation to audition, at a festival of San Juan of the foundation, where I was able to win a spot. From then on I became a vassal of the sun.

All this experience in the middle of the show made me lean towards dance, where I got to venture as direct from my own dance school destined to spread the Cuban casino. With Vasallos del Sol I had the opportunity to travel the world, Colombia, Cuba, Ecuador, Spain, Mexico, Korea, Japan, the United States,

How many years has it been since the idea of entering the cultural world of your country?

22 years since I formally started at the Bigott Foundation.

How did the idea of giving life to singing come about?

On the tour of the United States, I began to sing with the vassals accompanied by the guitar of Luis Gonzalez, assuring me later that it was there that he heard me and knew that I could sing, quickly and a few months later he called me and invited me to participate in a project that neither It didn’t even have a name, which would quickly begin to take shape and to date is known as the seventh bohemian.

I began to sing very badly, I lost my voice because I didn’t know how to use the phonator, I began to take classes with several teachers, the first of them Ronald Gonzalez, fundamental pillar to start singing, placing and improving my vocal technique, successively Fabby Olano, Gladys Salazar, Maigualida Ocaña, Dayan Montiel, Marcial, Gustavo Gerardo. We recorded 3 albums on national tours, the second of which is entitled “She takes me” a song that I believe made the Seventh Bohemia popular. Singing was not in the plans but it ended up being one of my great passions.

A song that marks you?

She sings: The earrings that the moon lacks, I have them saved to make you a necklace I found them this morning in the mist when I was walking next to the immense sea. Since I was a child I woke up very early listening to music by La Sonora Matancera, Felipe Pírela, Damiron and Danzón de Acerina, it fascinated me.

Let’s talk about the seventh bohemia. How do you join this septet?

I am a founder, just in the second rehearsal when only Luis Freites, Cesar “Chagu” Bolívar and Luis Gonzalez were there I was summoned along with Krlos Gonzalez to be part of the group, from then on I started singing “Bilongo” to be exact, hahaha I’m so in love with the black tomasa……….., El Jamaiquino, Me que, among others.

What is the greatest thing you have experienced so far with music? -You could perhaps refer to a concert or moment to share with an artist-

I think the greatest thing I have experienced in music is having shared the stage with great figures both Venezuelan and foreign, Francisco Pacheco, Canelita Medina, Trina Medina, among, Jose Alberto “el canario”, Cheo Feliciano, Alexander Abreu and his Habana de First, Manolito Simonet and his Trabuco, Tiburón Morales, El Septeto Santiaguero, among others. On the other hand, being at the 2014 and 2015 Pepsi Music Awards, the biggest thing, achieving 4 nominations for the 2015 Latin Grammys, a great privilege.

What has given you and what has taken away the artistic life you lead?

It has given me the satisfaction of feeling and receiving the applause of an audience, feeling the magic of a stage, dancing on the most important stages of Venezuela and the countries I visit, I don’t know if there is another artist who performed in the same weekend in two different facets and groups in the most important venue in Venezuela

The Teresa Carreño Theater where on Saturday I danced in my last Vasallos de Venezuela concert in the concert “Guiados por la Luz” occasion to baptize the latest production, with guests from the cultural movement and the next day singing with La Séptima Bohemia alternating with Francisco Pacheco, El Septeto Santiaguero, Jose Alberto “El Canario” Canelita Medina and El Tiburón Morales and as special guests all the best dance academies in Caracas.

Antonio let’s laugh a little. Tell us about the funniest thing that has happened to you at a concert and the most painful.

WUUAOOO, too many, Well, a concert with Los Vasallos where I went out to dance and my pants began to drop, at a concert at the Yerba Buena Garden Festival 2008 in San Francisco we got the foot burn of the century since the stage was al pure sun and linoleum floor and at the baptism of the album “She takes me” in the main hall of the Central University of Venezuela after the great presentation of the renowned Ramón Castro We went on stage and I couldn’t see anything through my glasses hahaha and I I put in the place of my partner Miguel Guanchez colliding spectacularly ahaha to start singing. What a laugh.

We know of the great success that you have had in Venezuela with the successes that you have sung and have marked the public, they have gone from a sound to a necessity for the dancer. What do you consider this great impact?

Definitely because I come from the world of dance, I’m a dancer and a dancer and I understood perfectly that I needed the same audience that the casineros came from, those of us who at some point went to the Goiticoa school or the Monagas house. By the way, as a curious fact, I was the one who organized one of the first casino parties in a place called Beisboland, a party where I dare say it was the second presentation of one of the most important dance groups in the Venezuelan casino Son Rumbero, where they danced “Cuentas Verdes y Amarillas de Adalberto Álvarez.

How has your foray into Latin music in Mexico been?

Since my arrival in Mexico I have participated in several musical projects, Los Panas.com, La Formula Perfecta, Swing Latino to mention a few, it has not been easy since musically Cancun has a particularity and that is that the music that is danced is still that of the 80s when they talk about salsa, of course with its exceptions, but it has cost me to adapt but in the end it is what is consumed here. Here the forte is the hotel industry, so the Latin genres that marked an era are what is worked on, that’s why as a salsero it has been difficult for me to adapt, although I have worked anyway.

The Salsa or the Son? Which one do you lean towards?

Definitely La Salsa, I grew up in the middle of the Salsa de La Sonora Ponceña, Willie Rosario and the great Ray Barretto to name a few. Son also became my passion but I have to be realistic! came into my life thanks to the Seventh.

Open, I’m coming. Tell us a little about this great topic?

When I got on the plane to leave my country, in addition to nostalgia, I only had one thought, to make my album as a soloist first, I knocked on many doors, I looked for a lot of help, until I finally reached what today is called “Abre que I’m going” in that search the day came when I remembered that I had a buddy who was Omo Aña (Drummer) Maurice Melo and that after conversations, long conversations we would take a first step, start aggravating a theme, my first promotional single.

What surprise do we have to see from Antonio Laya during this 2019?

With God’s favor, to continue recording my album, including my first music video, if money allows me, hahaha For this 2019 I’m going to release my second single, it’s called… (Thinks) Not yet, let’s leave it as a surprise , do a launch concert and seek my respective nomination for the 2019 Pepsi Music Awards and the 2019 Latin Grammys.

Where can our followers find you?

My social networks Facebook and Instagram through @ToñitoLaya, on twitter as @Negrolaya and through my YouTube channel, Toñito Laya

Pupy Pedroso An Ambassador of Cuban Music in the World

Latin America / Cuba / La Habana

When we talk about the beautiful island of Cuba, it is impossible not to automatically think of its rich and ancient musical culture. We are talking about a small piece of land in the world, of that long Caribbean, but it is full of the most successful musicians of Cuba. the history of Latin rhythms.

It all lies in the Spanish and African influences that came to the Island hundreds of years ago, that race that was created from the strings and the drum, from the white and the black, from singing and dancing.

On this occasion I feel very proud to be able to speak directly with a cultural ambassador, recently appointed by the Latin Institute of Music, the leader of those who are are and one of the founders of the very famous Van Van orchestra, the great Cesar Pupy Pedroso, teacher of teachers, as we have called him for this occasion.

Good morning maestro, thank you in advance for the time you give us to all the readers of the International Salsa Magazzine and the portal www. salsamundi.com.

“Well, here I am very happy to be able to talk a little with you and grateful that you want to talk about this server”

Maestro with 19 years of foundation with Pupy and those who are maestro, tell us how the idea of founding this great orchestra was born after making the whole world dance with the Van Van.

“The idea for the project ‘’Los que Son Son’’ arose from a recording I made (while in Los Van Van) with songs of my authorship performed by an internationally renowned performer. (Omara Portuondo, Rolo Martínez, Xiomara Laugart, Raúl Planas, Caridad Cuervo, Pedro Calvo, Raúl Planas etc…etc..) From that moment on I got the idea of making another album with other performers, with a German publisher, and The album was called César Pedroso y Los que Son.

There came a time when I was on tour with Van Van and the dancers came with the records, so I could sign them, and it was then that the idea came to me of forming an orchestra and leaving Van Van and calling it ‘Los que Son Son’. . ”

Why Pianist?

“In my house when I was born there was already a piano, my father was a pianist, and children always want to be like their parents, and I was not going to be the exception, regardless of the fact that I liked the piano since I was little.”

What theme do you consider the flag of Pupy Pedroso’s new journey? When your orchestra opens

“Themes of the new transit: themes like ”What are the things in life” ””A crazy man with a motorcycle” ”Mommy behave well”, ”They’re calling me” and of course ”Six weeks “”

Tell us the story of the musical piece “De la timba a Pogolotti” does it tell us about a change in your life?

“From Timba to Pogolotti: It arises from a piano solo that I did in ”Sandunguera” and Pedrito Calvo identified me, as ”Pupy the sandunguero of Pogolotti” and the neighbors of La Timba (neighborhood where I I was born) they asked my older relatives why they said about Pogolotti, if I was born in La Timba, then I wanted to be okay with the two neighborhoods, when I made ”Los que Son…”

Well, I made that song in honor of the two neighborhoods, because I was born in La Timba, but I grew up in Pogolotti, and all my childhood friends are from Pogolotti, I don’t have friends in La Timba, and I consider that one is from where one is from. upbringing, not where he was born, because all the customs, friendships, first ”girlfriend” were Pogolotti’s.”

Which song is your favorite from Van Van’s golden era?

“If you talk to me about the songs from Van Van’s golden age, there are several, of mine the authorship of Maestro Formell and others of mine, for example of the maestro, there are several, “My doubts” ”Marilu”” The Painful” ”There are women” ”I’m everything” and one of mine: ”Six weeks “Sugar” ”The Negro is cooking” ”It must be over” ”That’s good ”, among many others, we live in a wonderful time”

Since August 2018, he was named Cultural Ambassador by the Latin Music Institute. Do you consider it an achievement or a new commitment?

“I consider both things, an achievement because it is not easy in a country with so much talent and so many performers to take me into account for said recognition, and at the same time a commitment, because I am obliged not to let my musical guard down in any way.” sense.”

Maestro comes from a family of great musicians, his grandfather a director, his father a pianist, both from great Cuban orchestras. Can we say that being a musician in your family comes in your blood? Is it inherited in the genes?

“Yes, sir, I am grateful for having been born in this family where there was so much musical talent, where only music was breathed, my autistic grandfather, director of an orchestra called ”Cuba”, my uncle a percussionist in an orchestra very famous for that ”Arcaño y sus Maravillas” era, and I believe a lot in the musical heritage because I consider myself a product of it.

As a pianist, it is because my fundamental patron was my father, from whom I copied and learned a lot from what I could discreetly practice and as a conductor, because I had the joy of having worked with different directors, Rolando Valdés, Enrrique Pérez, I assisted in substituting for my father and the ones I spent the longest time with, Elio Revé and Juan Formell, I spent 6 years with Revé and 32 with Formell and I learned a lot with both directors, I was lucky.”

To what do you owe your great success as a pianist and conductor?

“I think that to be good at any career, the fundamental thing is that you like it and have the aptitude for it, I think that music does not escape from that rule, because you can like it, but if you don’t have the aptitude, don’t waste your time, and Maybe if you have aptitude and you don’t like it, over time you may like it and fall in love with it, so aptitude is the fundamental thing.”

What is your greatest reference or influence in music?

“My greatest influence is Son, I love Son, rumba, guaguancó, Cuban music and Brazilian music, jazz, but my greatest influence is Son.”

Currently, how do you see timba within the island of Cuba? Minimized by Cubaton or leader of local rhythms?

“I believe that at all times, there have been different musical genres, which have been in the preference of the dancer, in the era of Rock and Roll they danced with Elvis Presly, with Bill Halle and his comets, with Little Richard, but also they danced with Aragón, Benny Moré, Sonora Matancera, among others,…

but today the balance leans more towards these foreign movements, good and bad, and that is happening all over the world, in the dance area, but I do not consider our dance music critical or dead, because there is taste for everything and every time “A convening orchestra performs on an open-air stage, it overflows with audiences, that means we are in battle, and the country that has the most musicians making a living from music is Cuba.”

Tell us about the 2019 projects? New CD? Tours?

“Fundamentally starting the next album, the release of a documentary of a tour we are doing in Cuba and some presentations abroad, to reappear again at the end of the year in Europe, with one of the dance hits from France:

”Having a good time”, I make a parenthesis, clarify that there are countries where our music prevails (El Son, La Timba, La Salsa) like Peru and Colombia, Cuban rhythms are still in fashion, thanks to many musicians and orchestras that make a great job for the dissemination, to the printed media and now the digital wave that quite develops our work, look, you are an example of this, we hope to continue giving our audience reasons to dance.

In August we return to South America, it is the tour we are most looking forward to, the Latin public is one of the best, we think about stopping in August in Colombia, Ecuador and Peru, in the same way we are now planning to organize the calendar, for businessmen or producers who wish to have us in their cities, must contact our direct representatives, talking to them is like talking to Pupy”

What should a producer do to have them in their Latin American projects?

“No compadre, very simple, contact them at these numbers +573022582306 and +51992630351, they are the only ones authorized to market our tour, we want to be in all the cities of Latin America.”

Grateful teacher for your time and for letting us get to know you a little, may the successes continue for what they are.

“Grateful to you, thank you for the dissemination you make of the popular dance music of my island.

It remains to leave you the social media links of such an important orchestra so that you can follow in its footsteps and find out about the development of the successes of this great band, on Facebook:

@pupypedroso and the numbers

+573022582306 and +51992630351.

Justo Betancourt Querol Cuban sonero and singer famous for his interpretation of the song “Pa’ bravo yo”

Heir to the solid musical tradition of his family, Justo Betancourt was an incomparable sonero, possessing a unique personal style, He began his career at a very early age in his native Cuba, where he participated with orchestras and bands.

In the 1960s, he arrived in New York, where he launched a new and brilliant stage of his career, singing vocals for the legendary and inveterate group, La Sonora Matancera, which was already established in the city. Betancourt stayed with the group for five years.

In later years, he was a member of the chorus of several groups, including those of Eddie Palmieri and Ray Barretto.

At the end of 1976 Justo settled in Puerto Rico, fleeing the limitations of the New York environment and separating himself from the tours and recordings of Fania All Stars, to enter the modern and freer scene projected by groups such as Sonora Ponceña, Willie Rosario, Bobby Valentín and Roberto Roena, among others, from the island.

With young musicians including vocalists Sammy Gonzalez and Tito Rojas, he created his own orchestra which he called “Borincuba”, a name to reflect the mixture of Puerto Rican and Cuban artists.

In 1976 Johnny Pacheco in his interest to maintain the successful formula of the modernization of the sound of the Sonora Matancera as the typical sound of his group (the Tumbao Añejo), unites the voice of Justo Betancourt with that of his compatriot Celia Cruz, it was the first time that this duo of Cubans in exile was reunited, in the album “Recordando El Ayer” and in which the young pianist Papo Lucca was presented in a big way. Justo’s voice was recorded in the songs “La Equivocada” (a duet with Celia), “Ahora Sí” and “Guíllate”.

Celia, Johnny, Justo & Papo Recordando El Ayer 1976

That same year 1976, Justo is part of the ten vocalists that the Fania All Stars summons for his first production in a recording studio in the project “Tribute To Tito Rodriguez”, in which he performs the song “Cara De Payaso”, (the other vocalists were Santos Colón, Bobby Cruz, Cheo Feliciano, Héctor Lavoe, Ismael Miranda, Ismael Quintana, Pete “Conde” Rodríguez, Rubén Blades (his first recording with Fania All Stars) and Chivirico Dávila (his only recording with the group).

Fania All Stars Tribute To Tito Rodriguez 1976

To complete this productive year, Justo Betancourt joins percussionist Mongo Santamaría as the lead vocalist for the musical work “Ubane”, with the production of Marty Sheller, one of the important experimental albums of the salsa boom, a work that recovers the saxophone for the Salsa and bembé orchestra in the old Cuban Guaracha of the 50’s, and in which a constellation of New York, Cuban, Puerto Rican and Colombian musicians participate.

However, the album did not succeed in definitely catching on with the public and ended in the most unjust failure.

With his new orchestra, he recorded four albums, of which he recorded as lead singer in only two albums: “Distinto Y Diferente” (1977) which includes the songs: “No Estás En Nada”, “Distinto Y Diferente”, “Soy Profesional” and “Óyela”; and “¡Presencia!” (1978) which includes a tremendous new version of the bolero “Psicología” and the song, composed by Catalino “Tite” Curet Alonso, “Camarón”. Justo was always among the best and remained oblivious to the decadence of the industrial boom of New York Salsa at the end of the decade.

Justo Betancourt Distinto Y Diferente 1977

His secret was to remain bravo by performing authentic Caribbean music without the commercial additives imposed by Salsa.

The young singer who performed in the chorus and Justo’s student in Borincuba, Tito Rojas, became the lead singer in the following album “Con Amor” (1978), which Betancourt conducted and participated in the chorus.

Tito Rojas’ last work before splitting from Borincuba to start his solo career was the album titled only as “Borincuba”, in which Justo also served as musical director and backing vocalist.

Justo Betancourt Presenta Su Conjunto Borincuba Canta Tito Rojas Con Amor 1978

So in 1979, when Tito inherited the band, he started his solo career changing the name to Tito Rojas y el Conjunto Borincano¸ which had a short existence.

After a series of his own albums, he became the lead vocalist of the Puerto Rican Power Orchestra and appeared on their first two albums (1987 and 1989).

In 1990, Tito Rojas embarked on his solo career with the romantic salsa album “Sensual” which reached first place in the Latin Music Hit Parade in April.

In the following years, Betancourt, residing between New York and San Juan, continued in the inertia of the Fania contracts. In March 1979, when the Fania All Stars were part of the group of musicians who traveled to the island of Cuba to participate in the “Havana Jam Festival”, a musical exchange between the United States and Cuba organized by CBS and held at the Karl Marx Theater in Havana, Justo Betancourt and his compatriot Celia Cruz, for obvious political reasons, could not travel with the group; for this reason Justo decided to leave the All Stars.

Nevertheless, his contract with the Fania company remained in force, and that year he released another album titled “Justo Betancourt” (1979), produced by himself and Louie Ramirez, which included the songs “Yo Sin Ti” and “Qué Más Quieres De Mi”, among others.

In 1981, Betancourt returns to record again with the Sonora Matancera in an album entitled “Sonora Matancera Con Justo Betancourt”, produced by Javier Vásquez and recorded on the Bárbaro label, a subsidiary of Fania and owned by Jerry Masucci. On this album, four guest musicians appear for the first time to record with the Sonora: Pedro “Puchi” Boulong: on trumpet, José Daniel: on the tumbadora, Elpidio Vásquez Jr. (son of the bassist): on second bass, and Mario Hernández: on tres.

From this work the hit “Mala Pata” and a new version of the bolero “Hoy Sé Más” stand out.

In 1982, he recorded his last work on the Fania Records label “Leguleya No” (1982), with his own production company RMQ and with the arrangements and musical direction of Ray Santos and Javier Vásquez.

From 1982 onwards his appearances were variable, he participated in Israel Sardinas’ LP, “Israel, la Verdad” (1984), and participated in Celia Cruz and Tito Puente’s album “Homenaje A Benny Moré Vol. 3” in 1985, in one of the songs: “Tú Solo Tú”.

Except for these participations, he made no recordings between 1983 and 1989.

And so, there were plenty of reasons for Justo Betancourt, despite so many successes, to end up in virtual anonymity and indifference. He gradually withdrew from the world of the studios, although he continued to perform sporadically.

After years of recording silence, he returned in 1990 with his style with the album “Regresar” on his own label RMQ, of which he was the producer, director and did half of the arrangements written by Eric Figueroa.

In 1992 he released the album “El Bravo De Siempre”, for Rafael Viera’s RV Productions label, which featured the participation of Cuban percussion legend Carlos “Patato” Valdes, among other great Puerto Rican musicians.

In 1994 he participated in the project of Puerto Rican producer and musician Frank Ferrer called “Descarga Boricua”, alongside more than 30 experienced local and international musicians such as Ismael Miranda, Jerry Medina, Papo Vázquez, Juancito Torres, Alex Acuna, Mario Rivera, Pedro Guzmán and Ángel “Cachete” Maldonado, among others. There, and in several songs, he resorted to his superb vocal resources as in his good times. In the second work of the Descarga Boricua, edited in 1996, he participated briefly with some soneos in the song “Abrázate a Puerto Rico”, as well as in the third album of the reunion of the virtuous Puerto Rican musicians.

He returned to the recording studios again in 1998 with the CD “Mató” for the El Paso label in Puerto Rico, and from which the song “El Lema Del Guaguancó” stands out in the most vigorous style of Arsenio Rodríguez, composer of the song.

He also made his return as guest singer of the Fania All Stars for the concert of April 29, 2000 in Puerto Rico, a return that he made together with Ismael Miranda and Luigi Texidor to the group.

Justo Betancourt has participated as a backing vocalist in the recordings of many Latin music orchestras and works of renowned artists, such as La Conspiración de Ernie Agosto, Celia Cruz, Johnny Pacheco, Roberto Roena, Willie Colón, Eddie Palmieri, Willie Rosario’s orchestra, Héctor Lavoe, Adalberto Santiago, Kim De Los Santos, Van Lester and the Puerto Rican Power orchestra, among others.

In 2002 he participated for pianist Papo Lucca in the musical project “Festival de Boleros” with the song “En Cada Beso”, along with a constellation of Boricua singers and musicians.

Sources:

Por: Jose Ramon Tremaria

Ecued

Fania Stars

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Orquesta la Identidad is one of the most nationally and internationally recognized groups in the salsa genre

Winner Identidad Orchestra on several occasions of the Cali fair disc with songs such as MUJERES in 1987, QUIÉREME in 1991 and COMO YO TE AME, the most played song at a historical level in the different Latin FM stereo stations in 2003.

Among other works of recognition such as: LAS COSAS SON COMO SON, TU DESDÉN, GOLPE DE GRACIA, SI ELLA VOLVIERA, DESENGAÑOS, among others.

This group was founded by the Colombian composer and musician Carlos Enrique Navia in 1981 in the capital of salsa in the city of Cali – Colombia, which came to fame in 1987.

Following the release of his first album entitled LA IDENTIDAD, under the Codiscos label, musical production that includes the works, LAS COSAS SON COMO SON, Y ME QUIERES, PARA QUERERTE, CADA CUAL, POR SU LADO, LA FUMA, GENTE CORRIENTE, BRABAJE and MUJERES.

Work that was awarded as the official album of the Cali Fair and gave him the opportunity to make his first international tour of the United States, visiting the states of Florida, New York, California, Texas, Illinois, among others.

This group had a very important boom in Colombia and the whole world for being elected revelation orchestra of the year and gave him the participation in the most important events and fairs throughout the Colombian territory.

Thanks to the success and recognition, the orchestra recorded its second album called LA MÚSICA in 1989, album that expanded its audience in other countries such as: Mexico, Venezuela and Ecuador with the works TU DESDÉN, AMOR ETERNO, TE QUIERO TANTO, LA MÚSICA, SON SABORIONDO, SENTIMIENTOS POR TI and BOMBA NAVIDEÑA, work that occupied the first places in the FM radio stations, preselected as Cali’s fair disc and elected the second most important song of the fair.

Orquesta la Identidad is one of the most nationally and internationally recognized groups in the salsa genre

Identidad Orchestra in 1990 the orchestra recorded its third album entitled UN TOQUE DE MISTERIO, album produced by the renowned Venezuelan musician Cesar Monges “Albondiga” who has participated in countless productions of artists and orchestras of international recognition in the salsa genre.

After a long tour in the United States, the orchestra arrives in Colombia to record their fourth album entitled SALSA CON ENERGÍA, a product produced in the studios of Grupo Niche.

This production included songs such as: LA RETIRADA, ESE SOY YO, BOROJO, AGITACIÓN, SI ELLA VOLVIERA, LLEGASTE A MI VIDA, DESENGAÑOS and COMO YO TE AMÉ, one of the hits of preference of our listeners, occupying the first places and beating the record of the most played song in all salsa genre stations in Colombia, United States, Mexico, Venezuela, Ecuador, Peru, Spain, Italy and many more countries.

ORQUESTA LA IDENTIDAD is an orchestra that has been characterized by its perseverance.

Identidad Orchestra in 1992 they recorded their fifth album titled PROFESIÓN SALSA and ended their relationship with the record label Codiscos to start their independence as a brand under the direction of composer, singer and founder Carlos Enrique Navia to produce their works as an independent record label.

Orquesta la Identidad is one of the most nationally

This album included songs such as: GOLPE DE GRACIA, PECADORA, COCTEL DE AMOR, SI YO PUDIERA, SEÑORA CALI, MUJER AMADA, TE PILLÉ, NO IMPORTA, among others. This product was widely distributed in countries such as Ecuador, Venezuela, Mexico, Peru, United States, among others.

As a record label Identidad Producciones, ORQUESTA LA IDENTIDAD has recorded albums such as A TIEMPO, a production that has captivated the salsa public with songs like: CUANDO EL AMOR SE ACABA, MI NIÑA, LA ESQUINA DEL MOVIMIENTO, LE CANTO AL PACÍFICO, TE QUIERO Y TE AMO, TU DESDÉN, LA FUMA and singles such as: POR SIEMPRE ELLA, FRACASO, DICIEMBRE EN CALI, SON PA EL BAILADOR, COLOMBIA REAL, A MI PADRE, BENDICIÓN DE MADRE, MI GUAGUANCÓ, HOMENAJE A LA SONORA MATANCERA, GUAYAQUIL among others.

Works that are played on Latin radio stations and massively on digital platforms. Orquesta LA IDENTIDAD is a group that has participated in important Latin music events such as: SEBASTIÁN DE BELALCÁZAR awards on two occasions and nominated for best salsa genre orchestra, event organized by FALCON MANAGEMENT BOOKING & ENTERTAINMENT, INDEPENDENCE FESTIVAL OF GUAYAQUIL – ECUADOR, INDEPENDENCE FESTIVALS OF COLOMBIA IN THE UNITED STATES, WORLD SALSA FESTIVAL, BILLBOARD LATIN MUSIC, FESTIVAL OF ORCHESTRAS IN COLOMBIA AND FAIRS THROUGHOUT THE COLOMBIAN TERRITORY.

ORQUESTA LA IDENTIDAD is currently preparing the celebration of 40 years of artistic career, an album that will include the greatest hits such as MUJERES, QUIÉREME, GOLPE DE GRACIA, MUJER AMADA, LAS COSAS SON COMO COMO SON, TU DESDÉN, UN TOQUE DE MISTERIO, COMO YO TE AMÉ and DESENGAÑOS, which will have collaborations with national and international artists of recognition in the salsa genre and is preparing to make its next international tour of the United States year 2024.

CONTACT Carlos Enrique Navia General Manager Contact: 310 822 8068 – 317 642 1031 Email: [email protected]

ORQUESTA LA IDENTIDAD

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