Search Results for: Sonora Matancera

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

Also Read: Nicky Marrero is an innovator, timbalero and bongo player, living legend of our Afro-Latin and Caribbean music.

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

Also Read: Colombia’s legendary Grupo Niche and its founder Jairo Varela

Juan Antón ”El Blanco” from La Clave Del Blanco

Everything started in Peru for Juan

There is always a pool of new talents to be known and analyzed, since our Latin countries are the cradle of great artists of all kinds, especially in the area of music. Today it was the turn of the talented Peruvian Juan Antón.

We have taken the audacity to contact the leader of the orchestra La Clave Del Blanco, Juan Antón, to know the most important details of his professional life and his current group. We are very pleased to present to our readers the most important details of this pleasant and enlightening conversation, which lasted for almost half an hour.

Peruvian singer Juan Antón, Leader of La Clave Del Blanco

First contacts with music

Juan Antón was born in Peru, specifically in El Callao, a port city near Lima which is well known to all salsa lovers. Like most of the salseros who have passed through International Salsa Magazine, Juan started getting interested in music since he was a child and enjoyed La Sonora Matancera and, later on, the salsa music that came from New York.

However, although he was always a lover of the aforementioned musical genre, his career began with Peruvian Creole music, which is composed of waltzes, jarana, black music, among other variants.

When he leaned towards this kind of music, he sang with guitar, cajón and bass at parties in a bohemian way. He had some proposals to work with Creole music in a more professional way, but he accepted due to the pile of responsibilities he had with his work and studies. He was doing well at the time, but admits that he regrets that decision today because it would have been a good start.

United States

While it is true that his first steps in the world of music were taken in Peru, it was in the United States that he finally began to be part of more professional groups.

Juan’s first opportunity in that respect came when he was at a Peruvian party where his compadre was given a Creole music ensemble. Knowing those present that he sang, they invited him to accompany the ensemble and perform with them, which Juan accepted and did.

The musicians of the group liked his work so much that they asked him for his number and later called him to sing with them. At that time, he met Jorge Del Castillo, a well-known guitarist from the San Francisco Bay Area, who invited him to join a group he was forming and gave him a CD, asking him to learn those songs. The group would be called Kokos Band.

When Juan was listening to the CD in his car, he found out that it was salsa and not Creole music. When he went to tell Jorge that he gave me the wrong CD, he said it was the correct one and the future group would be singing salsa.

Since Creole music and salsa are very different, Juan had to learn a number of details such as the clave, the signals to the musicians, the way of singing, among other things.

Some time later, the story repeated itself. The conguero of Kokos Band proposed him to join the orchestra he was creating, with which he became much more successful and went to more renowned events such as the inauguration of a museum for Puerto Rican and Cuban baseball players. Its name was Orquesta Liberazión.

Being Peruvian, Juan was really proud that attendees mostly from Puerto Rico and Cuba complimented his work the way they did. Considering that both countries have been the cradles of the main exponents of salsa, the congratulations from this group were very important to him.

The third and last orchestra he played with was Saboriche. His time with this group made him realize that he had what it took to become independent and create his own project.

Juan Antón at The Cigar Bar — Juan Antón and La Clave del Blanco performing at The Cigar Bar & Grill

La Clave Del Blanco

One of Juan’s greatest inspirations to devote himself to music was La Clave Del Callao, since the music of this band influenced him and he liked it very much. In addition to that, the name by which many began to know Juan in the San Francisco Bay Area was ”El Blanco”.

Both of these things led him to name his own orchestra ”La Clave Del Blanco”.

Salsa Con Caché

In addition to his facet as a singer, Juan also had a radio show at La Grande 1010 AM and its name was ”Salsa Con Caché”, which was on the air for only one year. Its cancellation was due precisely to the professional commitments the artist had with his music.

He decided to call ”Salsa Con Caché” to this space because ”caché” in many countries means ”elegant” and ”refined”. This is precisely the salsa style he has always liked.

One of the things that set this program apart from others of their kind in the San Francisco Bay Area is that Juan always talked about the history of the artists and the orchestras playing on the air so that listeners would know all this information. Other programs only played background music and did not add more elements to the programming.

Juan was so successful that he received hundreds of phone calls daily and was even appeared in the now defunct San Francisco Chronicles as one of the best salsa shows at the time.

This success was due to the enormous constancy and important information the announcer had. Although Juan does not regard himself as a scholar in the matter, he assures us that he had what it took to keep listeners hooked to his knowledge. He even commented that he had a private collection of more than 600 original CDs in all languages, which he bought gradually.

This extensive music collection helped him a lot to offer a varied repertoire during the time when ”Salsa Con Caché” was on the air.

Juan Antón as an announcer — Juan Antón was also an announcer and his show was called ”Salsa Con Caché”

Recruiting talent for La Clave del Blanco

During his journey through the orchestras where he played, Juan got to know a lot of musicians, especially during his time with Orquesta Liberazión. He became friends with many of them and, when he started forming his own orchestra, he asked them to be part of it.

Since he managed to establish his group, the singer has always made sure to deliver what he promises. This means that, if he makes an offer for the work done, he always honors the full amount. For Juan, ”The most important thing in this business is the given word”, so you always have to deliver what you promise at the beginning.

With respect to the above, Juan has lived this same situation with orchestras he has worked with, so he does not want to have debts with the musicians he hires. This is how he has gained their trust and, whenever he needs them, they are there for him.

Fidel Antillano “The greatest satisfaction of a musician is to finish a quality product and see the acceptance of the public”

Latin America/ Venezuela / Caracas

Salsa is an expression of life within the caraqueño and Latin American neighborhoods. This fusion of rhythms has known how to slip in and no one escapes its magic and enchantment. Such is the case of pianist, composer and arranger Fidel Gregorio Antillano, born in the city of Caracas on June 10, 1962 and raised in one of the city’s sound districts, Los Frailes de Catia, where he lived surrounded by salsa groups, street performers, carnival and Christmas parties, enjoying the golden age of the salsa boom.

Fidel Antillano - Photo — Fidel Antillano – Photo

This genre influenced his destiny and allowed him to make it his way of life. Salsa is a cultural condiment with the flavor of many countries, which has managed to transcend borders.

Almost always at home the musical vein is lit. Was this your case?

“There was influence from my relatives, in my house there was always music, it was like a big jukebox, La Billos, Los Antaños del Stadium, la Sonora Matancera, Barbarito Diez, Casino de la Playa, among others, my grandmother lived in El Retiro, in La Pastora, she had a piano, when I went to visit her with my dad, I sat at the piano and I liked what I felt, music was part of my family, my dad was a great music lover, he bought all kinds of records, classical music, Creole music, tango”.

Did your grandmother or your father play the piano?

“No, my grandmother Gregoria “Tata” -we called her that because of our affection-, she was an amateur but she did not play it, she had it as a reference, she played cuatro, my uncle also played cuatro and guitar, my father did not play anything, he bought many Lps, given the house we had -the piano was a kind of furniture that embellished and gave cache to the house-“.

Family photo of Fidel Antillano's uncles Isaías, Pablo and his grandmother Tata — Family photo of Fidel Antillano’s uncles Isaías, Pablo and his grandmother Tata

“My older brother -on my father’s side- he did have some knowledge, he was the most educated, in that house there were harps, cuatro, maracas, records, my family on my father’s side were very fond of music, from our musical family tree we have four musicians -Julito Antillano, Denis Antillano, José “Kikin” Fernández and me”.

What anecdotes or memories do you have of the piano?

“At the time of the construction of La Cota Mil, my grandmother’s piano was taken to my father’s house, at that time I began to kill a fever, I was about 10 years old, it was the time of the gazebos to choose the queens of the neighborhoods, the Sexteto Juventud was in fashion with its theme Caramel and Chocolate; at Christmas and Carnival we did not peel a rehearsal of the groups that lived in Catia”.

That would be the first impulse to awaken the gift within

“Yes, that was my first impulse, I inherited that musical vein from my grandmother and my father, they were close to salsa and folk musicians, besides, my father and my uncle bought a lot of Long Play (elepé), I started working with my

brother in a shoe store and started buying records.

Fidel, I understand that you are a self-taught musician. How was that learning process and deciding that the piano would be the instrument to play?

“Yes, I am a self-taught musician, back in the 70s we used to hear Nico Monterola’s Orquesta Renovación, La Banda y Su Salsa Joven on the radio. To my surprise, we used to meet with those musicians and we used to go and hang around their rehearsals, this had a big impact on me, there were many shows, it was a coming and going of groups of the moment”.

When I was 18 or 19 years old, seeing Salsa Mayor, Pacheco, Carlos “El Grande”, all those great musicians, I made the decision to learn to play an instrument, I looked for a teacher or someone who would teach me to play the piano -Salsa was underestimated and that’s why they thought it shouldn’t be studied”.

He got a teacher

“No, because of what I’ve told you, salsa was seen with bad eyes, the scholars did not see it as music would be, look, at that time I was exchanging the Lp with my friends, in one of those exchanges a friend lent me the album “Musical Conquest” by Sonora Ponceña, when I heard the song ‘Ñañara’ I fell and the entrance of the piano played by Papo Luca, that simple montuno, I was hooked – I said; this will be my thing!

That was the leap you’re hoping for

“Yes, that was the big jump, I went uphill because I didn’t know what a chord was, I didn’t know anything, I mounted 4 songs with simple chords, taking the first steps I fell in love, then I joined people with more knowledge”.

“As there was no one to teach me, I saw books, I had chords of the songs and I was guided by a music theory book, I learned to decipher the codes, music is a code, I read the Swing Latino magazine -from my friend Angel Mendez-, without stepping on a school, I was fed up; one must know about harmony, contra punto, I bought the Berklee harmony book and many more, -I rubbed shoulders with other musicians -some records came as a clinic, all this was feeding me”.

He was his own teacher and a very disciplined student

“I was my own teacher and I took on a discipline because that’s what I wanted, if you went to an institution where they gave music lessons and you said you wanted to play salsa, the musician was fined or thrown out, they were treated in a derogatory way”.

It was worth the effort, from being an empirical musician to playing with the best orchestras.

“I started with Grupo Fósforo, back in 81, we only wanted to play, it was a sextet, Mr. Manuel Ibarra passed me the notes and I didn’t know much about playing, then Jesús “Mandinga” Torres, took me to see different groups, That’s when I decided to introduce brass into the sextet and it became an orchestra, -all the arrangements were done by me-, I had any number of records and many songs from those Lp were not played or played by other orchestras -Gran Combo, Sonora Ponceña, among others-“.

He is a collector

“Not a collector as such, but I do like it, not with the eagerness that any collector has to obtain all the production, as La Sonora Ponceña says, but I have my Lp”.

What happened with the group Fósforo?

“It dissolved because they each started playing for different orchestras.”

And then the Grupo Fósforo

“Mandinga tells me that Carlos “Tabaco” Quintana needs a pianist, I clarify to him that I do not know how to read the scores, that he gives me the papers that I have the album, I began to listen to the album and I saw the papers, with that I completed the study, and I was increasing the experience, I recorded in the production of Tabaco and his Group Futuro”.

“Then with Dimas and his Orchestra Alegria, it was the first album I recorded professionally in the year 85, through those works I was doing with Dimas, I know Mauricio Silva, I felt afraid because Mauricio already had experience, he was the producer of Dimas’ album, but everything flowed, on the way I know many other professionals”.

“In the year 87 Roberto Blades came to Venezuela to the famous events Consul, Alberto Vergara recommended me Manuel Guerra and we made several tours by some regions of the country, then Julito – my nephew – told me that Naty Martinez needed a pianist”.

How was your time with Naty’s orchestra and your separation?

“Thanks to the album I made with Dimas, many doors opened for me, he believed in me and I will always be grateful for that. Through this album, Naty hired me, he already had references from me, and I recorded 4 of his productions with him -Naty, El Legendario, returned, In Dos tiempos and Proyecto Maelo-, with Naty I made my debut at the Poliedro de Caracas, I met Ray Barreto and the pianist Ricky González -he passed me some tricks-, we also went to Colombia and alternated with Grupo Niche and Joe Arroyo, a great growth and learning”.

“I left the Orchestra with a good relationship with Naty, so much so that he called me later to record in the productions, En dos Tiempos and Proyecto Maelo”.

It was a very fast growth

“Yes, I’ve even recorded jingles, I was with the Orquesta Café de Caricuao, I was with Erick Franchesky in the production where he pays tribute to Billos”.

From Salsa orchestras to working with one of the greatest exponents of Caribbean popular music, maestro Porfi Jimenez

“At the time that erotic salsa was introduced, I started to play with Porfi, merengue and snail soup were in fashion, all that music was in great demand, it was a boom, weekly there were 3 or 4 dances, this dragged a great group of followers, with it I go to Tenerife to some carnivals, I have great respect and admiration for the master”.

His time with the group of Porfi opened the doors to work with the group “Los Roques” of Tenerife

“Of course, however, I had left my resume there and one day they called me and told me that they were going to send me the ticket, I was with them for about 7 months, I played in the carnivals of Tenerife, it was something apotheosis, dances and dances did not let me come – laughs – they played merengue, I was blessed to visit Africa”.

All this accumulation of experience allows him to decide to create his own orchestra

“When Porfi was in the merengue boom, however, most of us musicians were salsa musicians, and because of that need to play our rhythm I decided to create my orchestra, but before doing the Combo Antillano we had an orchestra called La Gran Fuga, the singer was Edgar dolor, we killed fever with that orchestra and eventually I played with Naty and Porfi, because of so much activity I played with my orchestra on the days I had free, it was a good time for the groups”.

What happened with La Gran Fuga?

“We made it to occupy the days we had free with Porfi’s orchestra, at that time it had suffered a drop in the number of performances, but when it came back up, we didn’t have time or space to play, – well – it didn’t really dissolve, in fact they always give us caps to reassemble”.

From being the musician of the Orchestra Dé, to being the owner of El Combo Antillano and taking responsibility for a team

“A great responsibility and commitment, but it was time to do the same, we opened the compas playing music from the Gran Combo of Puerto Rico, that was the end, we played the greatest hits of the moment, no other band did, on Tuesdays that was full of people in the different places where we worked, this served as a bridge and accompanied other artists, Andy Montañez and other groups, this made me think about making original songs to record.

What was your first composition?

“The “Afro-Caribbean Music Festival” took place at the New Circus in Caracas, with 30 orchestras participating. Lil Rodríguez asked the orchestras to play original songs, and my first composition was a tribute to Caracas”.

At that moment they take a prize as the most applauded group of the night

“Yes, that was impressive, with Leah’s song, a Mongo Santamaría song, it was something new for the moment, an instrumental discharge”.

Tell us about your record productions

“My first production is called Háblame de Melao (2010), in most of the songs I do the lyrics and arrangements, was something new, the black Mendoza puts me to record and tells me to do theme by theme, we made 21 track, but in the album only put 19, this production was made to recognize the singers, Dimas Pedroza, Teo Hernandez, Angel Flores, Larry Tovar, Luis del Valle “Don Wicho”, Rodrigo Mendoza, Eloy Rios, a tribute to them and highlight our people.

“The second, Fidel and the descarga de los Frailes (2013), here we handle the Salsa, Latin Jazz, Danzón, has a lot of instrumental music before starting the rumba, I had the desire to work and create with a sense of belonging, I made an innovation in the melody with the electric guitar and flute, I did not want to continue recording on wet”.

“and, Caracas en su Salsa (2018), is a tribute to the Salsa of Caracas, in this production we have 14 songs”.

Through this production you made a documentary with the same name, which begins with a beautiful phrase of Cabrujas “Caracas Suena. The city was made to be heard, not to be seen”. How would your interpretation of this hidden city be?

“There is a city that cannot be seen, but it is there, and although the media does not show it to us, we can notice it, through, for example, the musical groups that exist in our neighborhoods and that become visible when there are events, like the one organized by Héctor Castillo (+) in 1983, where we could realize that there was a whole cultural movement hidden in each of our neighborhoods”.

“So I urge this type of inter-neighborhood events, which allow the visibility of the hidden Caracas.

Another of his passions is composition. At what point does the muse come to him?

“At first sight I fell in love -laughs-, -Bella Cubana-, to compose you must have a little bit of each thing, love, dislike, joy, sadness, they are not always experiences of the composer, sometimes if, in the variety is the taste, in my case I work with the rhythmic part and I put lyrics, and more than muse is a mixture”.

He makes songs with meaning that captivate the audience

“You like your audience to identify with your songs, the lyrics are thought-provoking.”

Does the song I don’t want to live in the dark have to do with any experience?

“That one was written by Carlos Navarro and I arranged it for him, it was a personal experience of his. I was in a treatment centre and he talked to me about it, I decided to do the arrangement”.

In the music industry we have many issues of strip and shrinkage, is the case of Domina tu lengua

“Sometimes people think that a song can be a strip and shrink, because of the content of the lyrics, in this case it is not, this was written by the Cuban producer Luis Llamo”.

What gives you the most pleasure as a musician?

“Finishing the product with quality and seeing the acceptance of the public, when you are in the studio and you realize that it looks better, then it sounds on the radio, seeing that the public sings it, dances it, that’s priceless, that’s the greatest satisfaction”.

Which of your productions has given you the most satisfaction?

“Tell me about Melao.”

Why?

“There is a great variety of rhythms in it, I had the opportunity and the satisfaction of exchanging with a large number of people from outside, in it is the theme Pa’ Barlovento, in it exported what is ours, our native rhythm, Venezuelan Sangueo, the Culo e’ Puya, the San Millán”.

What have been your musical influences?

“I wouldn’t be a musician if it wasn’t for Papo Lucas, trying to emulate what he did, as a musician, arranger and person, I admire him a lot, from here comes my influence, -in what time he learned everything he knows-, that makes him incredible, apart from the master Tony Monserrat, an independence with his left hand, he was a virtuoso”.

Many begin by imitating a style, versioning lyrics from other groups. What do you think of the copies, has creativity been lost?

“It’s a resource that is used, at a certain moment, it’s a hook, I barely had the opportunity to do my work, one must have the ability to discern where to play each song, maybe many are afraid of not liking it, or not being accepted”.

What do you think this fear is about?

“Perhaps not to be broadcast on the radio stations.”

He believes that more support is needed from the various media

“Yes, the lack of support sometimes makes one fear, it’s worrying to touch on a subject and the track gets empty.”

That’s when the artist turns to the hated payola

“I don’t agree with the payola, but it is a necessary evil, all the work that an orchestra owner does generates expenses, and after making an investment you need a retribution; previously live performances were a springboard, they projected a lot to the groups, that has declined a lot”.

What has happened to the Bolero in productions, you don’t listen to them anymore?

“The record companies are more determined to sell, that’s why I think they stopped recording, the new generation should identify with that rhythm, there are many beautiful boleros and if they stop recording they might be forgotten”.

Fidel, what new projects are on the way?

“Right now I’m recording with Angel Flores -record pocket- the song is called Callejon 107, is dedicated to the experiences of Latin American neighborhoods, is a son montuno very tasty, lyrics by Flores and with arrangements by this server”.

At this time when humanity is going through a hard test for its survival, what message would you leave behind?

“There is advice to live a life attached to good habits, one must live under these guidelines, the book of proverbs is wisdom… The man who walks in integrity walks confidently”.

By Eling Blanco, ISM Jounalist Correspondents, Caracas, Venezuela