Search Results for: Timbales

Rolando Sanchez from Honolulu – Hawaii

Percussionist, Singer, Singer-Songwriter, Producer and Leader is Hawaii’s Best Selling Latin Artist

Rolando Sanchez, percussionist-singer-songwriter-producer, leader of Hawaii’s first longest recording Latin recording artist.

In this Site you will experience the history and achievements of this musical Family called “SALSA HAWAII” for over 20-years, performing, recording, touring and just sharing the love and ALOHA of our Latin Music Wolrdwide.

With CDs sold Worldwide and the number of awards and accolades from press, government, musical organizations, community organizations, locally, nationally and Internationally.

HONOLULU TROPICAL Celebrating 20 years of Latin Music in Hawaii Rolando Sanchez Salsa Hawaii Singer, Songwriter, Percussionist (timbales-congas-bongos- drums) Recording Artist, and Producer. Born in Masaya, Nicaragua, to a musical, artistic family; his father, an accomplished songwriter, pianist, and singer.

Rolando Sanchez from Honolulu - Hawaii — Rolando Sanchez Percussionist, Singer, Composer, Producer and Leader is the best-selling Latin artist in Hawaii

His mother also played piano and sang as with most of his immediate family.

His musical influence began at a very young age playing drums with neighborhood kids emanating the music of the time (i.e.: Beatles, Trini Lopez, Paul Anka, etc.).

In his early teens he began listening to more Latin music styles, which formed the basis for his music today. The bands that influenced him at the time were Tito Puente, Celia Cruz, Billo’s Caracas Boys, Sonora Matanzera, Sonora Santanera, Daniel Santos, and a Nicaraguan band Los Satelites del Ritmo.

In the late 60s, the family relocated to San Francisco, California where he grew up and truly realized that music was to be his life. The music scene in the Bay Area at this time was very diverse. He delved in all the different styles.

During that time, Latin music was beginning to blossom and all kinds of Latin-style bands such as The Aliens, Latin Bloods, Los Beamers, Bandido, Unidad 77, and Limbo began to play in and around the Bay Area.

Cesar’s Club was THE place to be to experience the best Latin musicians (Pete and Coke Escovedo, Roger Glenn, Luis Gazca, Pablo Telles, Victor Pantoja, Francisco Aguabella, Carmelo Garcia) performing live.

That’s when Rolando realized his passion for Latin music and particularly Timbales.

Then it happened! Santana Band came out and proved to be the biggest inspiration for all Latin musicians in the Bay Area (the world) including Rolando. It seemed that Latin bands were coming out of the woodwork: Azteca, Malo, Sapo,Dakila, and Salsa De Berkeley to name a few. He played with different bands in San Francisco’s Latin music scene and shortly thereafter, decided it was time to start his own band called SOLAR; they played a mixture of Latin rock and Latin jazz fusion.

Rolando and his brother Mario (still playing congas with Bay Area bands) were alsosome of the guys hanging out at Dolores Park in the Mission District playing congas and timbales along with such notables as Raul Rekow, Karl Perazzo, Chepito Areas, Carlos Badia, John Santos, and many other well-known Bay Area Latin percussion artists of today.

His band gained popularity and started playing the circuit where he met and befriended such artists as Pete and Sheila E. and Master Armando Peraza who helped develop his affinity for percussions.

While playing in the Bay Area, SOLAR was billed with bands like Azteca, Azuquita, Sapo, Cal Tjader, Cesar’s All-Star Band, Willie Bobo, and others.After their break-up, he formed the band SUNSMOKE together with his uncle, Freddie Velasquez, who had just returned to the Bay Area from touring the country with the Phil Driscoll Band. SUNSMOKE quickly became well-known in the Bay Area and they toured the west coast and Canada where they opened for blues master B.B. King and performed at the Canadian Rock Festival with bands from all over the world.

For over 20 years, performing, recording, touring and simply sharing the love and ALOHA of our Latin music around the world. — Rolando Sanchez Salsa Hawaii

After a couple of very busy years, including recording some demos for major record labels, they broke up and Rolando spent some time in Los Angeles checking out the music scene there.

Upon returning to the Bay Area, he joined MESSIAH, one of the hottest Funk/Gospel/Rock/Disco bands. Their single, “Get up on Your Feet and Dance”, became a hit in the International disco scene. MESSIAH then went on to Japan where they enjoyed instant success and toured for 4 months. Shortly after their return, the band broke up and THE ROLANDO SANCHEZ BAND was born. Composing and writing his own material, Rolando released his first single cassette with two original songs, “She’s the Lady” and “Cold Hearted Woman”.

She’s the Lady” was made into a music video shown on local stations on both east and west coasts at the very beginning of the MTV movement.

It featured some of the Bay Area’s finest musicians including vocalist Jo Baker (Elvin Bishop Band). After being in the Bay Area for nearly 20 years, Rolando felt the need for a change of pace in his life.

In 1984, he visited his sister in Hawaii and the rest, as they say, is history.

Not long after arriving in Honolulu, Rolando decided to make it his home and the place where he would throw his musical fate to the wind.

His very first musical engagement in Honolulu was at the Waikiki Shell with one of Hawaii’s hottest singer/songwriters of that year, Mr.

Audy Kimura, in celebration of 25 Years of Statehood. This made it all the more clear to him that he was in the right place.

On this site you will experience the history and achievements of this musical family called "SALSAHAWAII" for more than 20 years. — HONOLULU TROPICAL Celebrating 20 years of Latin Music in Hawaii

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Kadencia orchestra “Don’t take the Drum away from me”

From Richmond (Virginia), Kadencia Orchestra launches its homage to the percussion instrument linked to joy and to the history of millenary ethnic groups that were expatriated from the mother continent to the shores of the New World centuries eailier.

Count Puerto Rico among those many destinations. Here the establishment and development of the cultural and musical expression of the slave allowed to write the sound pages of our rhythmic tradition with masterstrokers. Despite the passing of time, one of them is kept alive thanks to different musical efforts to which today we humbly join through this heartfelt tribute that, with our ancestors’ permission and hides, we titled: “No Me Quite El Tambor”.

From Richmond (Virginia), Kadencia Orchestra launches to the whole world its homage to the percussion instrument linked to the joy and history of millenary ethnic groups that, centuries ago, were expatriated from the mother continent to the shores of the "new world". — Kadencia Orchestra from Richmond Virginia

Kadencia Orchestra has a before and an after, but the same feeling and a line leadership that is born, sustained and prolonged in its leader and founder, master Maurice Sanabria Ortiz from whom we share a brief but necessary biographical sketch.

Although born in Manhattan (New York), his origins are from Mayaguez; and, he went back there at 2 years ols, with his mother. Mayaguez saw him grow up and nourich him with the culture of his ancestors; manifestations that reached him transformed into beautiful and inexhaustible stories passed down by his maternal grandfather, who worked as a train driver that transported sugar cane, and as such, he was a witness to the festivities related to the sugar cane harvest.

His relationship with music dates back to high school, when he was a member of small groups that enterteined the well-remembered and popular marquee parties.

Kadencia Orchestra has a before and an after, but the same feeling and a guiding line that is born, sustained and prolonged by its leader and founder, maestro Maurice Sanabria Ortiz, of whom we share a brief but necessary biographical sketch. — Kadencia Orchestra Don’t take the drum away from me

After joining the army, he was linked to the musical groups over there. Some years later, while performing his military service in Germany, he was part of the Orquesta LA CREACIÓN and then joined the renowned group LA CONEXIÓN LATINA.

After his return to Puerto Rico, he was recruited by the PUERTO RICAN BRASS with whom he recorded his first musical work. After a time, however, he had to leave the group in order to pursue his university studies. Once he achieved his goal, he got involved in groups such as RECUPLENA and PLENA VIVA.

PLENA VIVA: after the breakup with this organization, he created the ORQUESTA KADENCIA around 2007 with whom he recorded by the end of 2009 (November), the production entitled LA VOZ DEL BARRIO that runs between the sounds of plena, bomba and salsa.

After his return to Puerto Rico, he was recruited by the PUERTO RICAN BRASS with whom he recorded his first musical work. After some time, however, he had to leave the group in order to pursue his university studies. — Kadencia orchestra Don’t take the drum away from me

In 2011, Maurice Sanabria returns to the United States, leaving behind a career dedicated to the pharmaceutical industry and also related to his musical work.

He settles in Richmond, Virginia and, after some years working for the government, he decided to reorganize the KADENCIA ORCHESTRA in 2018.

At this stage, these musical roots were prolonged, since his son Maurice Sanabria Gallardo (Maurice Jr.) becomes part of his group formed by 12 high-level musicians which are as follows:

Maurice Sanabria Ortiz: Singer Minor Percussion

Will Román: Timbales

Héctor “Coco” Barez: Tumbadoras (drums)

Santos Ramírez: Punteador & Buleador

Alberto Solano: Punteador, Giiiro & Shekere

Maurice “Mauro” Sanabria Jr.: Requinto, Buleador & Backing Vocals

Charlie Kirkpatrick: Piano

Jon Wheelock: Bass

Marc Román: First Trumpet & Musical Director

Ángel Quiñones: Second Trumpet

Pete Anderson: Trombone

Antonio Orta: Saxophone & Flute

Enrique Quiñones: Bongo, Follower & Backing Vocals.

Recently recorded, December 2019, this is the cut that

Kadencia Orchestra shared as a Christmas single.

A song that was previously recorded by the group, but never released.

A kind of musical story about the bad situation at that time and was updated for the occasion, recorded in sessions both in Puerto Rico and in Richmond, Virginia.

With respect to “No Me Quite El Tambor”, we share the name of the music credits, as well as the link to its official video.

At this stage, the musical roots were extended, since his son Maurice Sanabria Gallardo (Maurice Jr.) became part of his group, which is made up of 12 musicians of the highest level. — Kadencia orchestra Don’t take the drum away from me

Maurice Sanabria: Author Alfredo L. Santiago: Arranger

Maurice Sanabria Ortiz: Singer

Will Román: Timbales

Héctor “Coco” Barez: Barriles de bomba, cua & maracas

Leonardo García: Piano

Julio Antillano: Bass

Bob Miller: First Trumpet

Marc Román: Second Trumpet

Toby Whitaker: Trombone

Milton Sesentón: Strings

Alfredo Santiago: Saxophone

Maurice Sanabria Ortiz, Maurice “Tito” Sanabria, Reinaldo “Rei” Álvarez Enrique “Quique” Quiñones: Choir

Official Video: dYJB OE

To contact Kadencia Orchestra, you can do so through:

Website: https://kadencia.net/

Fan Page: https://www.facebook.com/KadenciaPR/

E-mail address

maurice Okadencia.net

Phone numbers:

+1 (939) 217 – 7710

+1 (804) 647 – 7917

KADENCIA ORCHESTRA

Richmond, Virginia.

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Professor MSc. Carlos Colmenárez and his “WRITTEN SALSA”

By: Professor MSc. Carlos Colmenárez (Barquisimeto, Venezuela)

Hello there, regular Salsa Escrita readers, here is your ever friend, Professor Carlos Colmenárez MSc, greets you from Barquisimeto, the musical city of Venezuela. In this edition, we are introduing three vocalists and an orchestra with a great trajectory at a national and international level, who have done a great job on behalf of Latin music and we want to continue projecting them worldwide on these pages.

Among these names are: Jorge Luis Suárez, Cheo Valenzuela, Gustavo Gerardo and the orchestra “Negramenta”, si I certainly hope the written interaction between you and us is to your liking.

Salsa Escrita, in charge of this server, your friend of always, professor MSc. Carlos Colmenárez — Professor MSc. Carlos Colmenárez (Venezuela)

Jorge Luis Suárez, “Pride and Symbol of Afro-Caribbean Music”

In Venezuela, the musical talent is undoubtedly first line and proven quality on any stage nationally and worldwide. Specifically in the state of Lara and in the city of Barquisimeto, a great number of artists with category and hierarchy have emerged and been born, exalting our Latin rhythms. — Jorge Luis Suárez, “Pride and Symbol of Afro-Caribbean Music”

In Venezuela, musical talent is without a doubt top of the line and of proven quality nationally and globally. A great number of artists with seniority and status have emerged and born in Barquisimeto, Lara, exalting our Latin rhythms.

For this edition of “Salsa Escrita”, we are honored to have as a special guest the vocalist Jorge Luis Suarez, pride and symbol of Afro-Caribbean music and diverse genres, who has showed his class and professionalism for years.

Jorge Luis is a singer, musician and multi-faceted artist; he was born on August 7 in the city of Maracaibo, the son of parents from the city of Carora, where he spent the most of his childhood in the state of Lara, began to lean towards music, and was largely influenced by his father, who played the guitar and sang romantic music.

At the beginning of the 80’s, he moved to Barquisimeto to attend university and was discovered as a singer and bass, cuatro and guitar player. Welcome to “Salsa Escrita”, through International Salsa Magazine, Jorge Luis Suarez.

To start this pleasant, enjoyable and long-awaited meeting, we would like you tell us your experiences about your artistic career, which has been very successful nationally and globally to make everyone who knows you very proud.

Thank you Professor Carlos Colmenárez for inviting me to your widely read and recognized salsa column, unique at a national and international level and in which you project Venezuelan musicians.

Jorge Luis, with which groups did you start your journey of this wonderful art in which you have demonstrated versatility, perseverance, discipline and quality? Well, let me tell you that I started my musical activity professionally, being part of groups of regional standing like “Las Estrellas del Momento”, “Orquesta Alegría” and then “Venezuela en Gaitas”, “Sason Latino” and at the end of the 80’s and beginning of the 90’s, I joined the staff of the orchestra “La Banda Actual”, a salsa icon in the state of Lara.

By the way, Jorge, we remember your beginnings with “La Banda Actual” and it was an obligatory reference for private parties, night places and of course sharing stage with great artists and Latin and Caribbean music luminaries.

In which groups did you have the joy and the pleasure to sign with national and international stars? In fact, Professor, when I was part of La Banda Actual, we performed with Héctor Lavoe, Wilfrido Vargas, Las Chicas del Can, Porfi Jiménez, Guaco, Los Melódicos, Hermanos Carruyo, Billos Caracas Boys, Orquesta La Crítica and many more during their visits to Barquisimeto, having the Bolivarian Dome and the Trade Fait Complex as locations.

In fact, Jorge Luis, due to your outstanding vocal capacity, gave rise to the call of Luis Frómeta, Billo Frómeta’s son, to join the ranks of Billo’s Caracas Boys. With them I learned to have more artistic discipline and gain experience during 4 years, managing to record three musical productions and traveling through Latin America, the US and Europe; precisely in the Tenerife carnivals we achieved the Güines Record related to public attendance to a dancer, sharing the stage with Celia Cruz and Oscar D’León.

Jorge, tell us about your entry into the orchestra of the world’s leading sonero Oscar D’León. Professor Carlos, precisely as a result of that event in the Canary Islands, Oscar called me and told me that he needed a vocalist of my characteristics to accompany him in his shows and international tours and honestly, it was a difficult decision because with Billo’s Caracas Boys, I was well established along with other Barquisimeto artists: Ely Mendez and Wolfang Perdomo, integrating the line of vocalists for that time, it was all “guaros” (nickname received by the Barquisimeto people).

Jorge Luis is a singer, musician and multifaceted artist, born on August 7 in the city of Maracaibo, son of parents from the city of Carora, where he spent part of his childhood in that entity larense and began to lean towards music, having as main influence his father, who played the guitar and sang romantic music. — Jorge Luis Suárez, “Pride and Presidium of Afro-Caribbean Music”.

But I found Oscar’s offer interesting and finally I said yes. With the Word’s Leading Sonero, to whom I owe a lot, because thanks to him I established myself even more as a performer and especially in salsa, bearing in mind his recommendations to the letter and of course it was an unforgettable experience, since with his orchestra we traveled many countries and performed on stages such as: Carnegie Hall, Madison Square Garden, House off Blue in Los Angeles, Orange Ball, jazz festivals in Europe, sharing with established artists.

Professor, while I worked with Oscar’s orchestra, I recorded my production “Una Tercera Persona”, in mid 1992, which spawned the hit single “Niegalo Todo”, obtaining the first places in the hit parade.

In that production, I was accompanied by renowned musicians, such as Luisito Quintero, Roberto Quintero, Robert Vilera, Raúl Agraz, Yorman León and the Nicaraguan Luis Enrique.

Jorge, how many years did you work with Oscar and why did you decide to leave his orchestra? I worked with Oscar for approximately four years and I decided to leave the group due to force majeure such as business and commercial commitments that I had and still maintain to this day in Barquisimeto.

For those who do not know, Jorge Luis is a multifaceted artist and has managed to enter in different musical genres as a vocalist, from salsa, bagpipes, tropical dance, guaracha, merengue, Venezuelan and boleros; becoming the musical arranger and producer of the trio Carora International at the end of 2014 in the last one.

At the same time, he produced and performed 19 Venezuelan music songs with arrangements by Jean Piero González, which will be released soon.

Jorge Luis, when you settled again in the musical capital of Venezuela, who did you record with? Professor, in Barquisimeto I have been invited to record with the following groups: Venezuela Somos Gaita, Nikitao, Amantes de la Gaita, Venezuela en Gaitas, Unión Gaitera, Rafa y sus Diamantes, Grupo Colorama, Con Klase, Orquesta Variación, Orquesta la Mayor, Orquesta la Gran Premiere, Venezuela Rumba, La Orquesta Raza Caribe, recording 8 songs with this last one in the production that is also about to be released.

Likewise, I was invited to record with the Son Colón Orchestra from Maracay and the Latin Grammy nominees, our Grupo Santoral from Barquisimeto, participating with them as a special guest in the show “El Amor se Canta” during Valentine’s Day, touring and starting in Juares Theater and other cities in the country, and private presentations.

Regarding current projects, what can you tell Salsa Escrita readers? Currently, my second solo production in the gender of salsa is about to be released with arrangements by Barquisimeto multi-instrumentalist Taylor Aranguren and myself.

We are releasing the album this June with the promotional track “No lo beses”, a song that was interpreted by Alejandro Fernández and by Mexican composer José Luis Roma. The production is called “Jorge Luis Suarez Covers”, which includes songs that have been hits around the world, such as: Cobarde cobarde, Escándalo, La bomba, Cuatro rosas, Darte un beso, El amor más grande del planeta, Bailando, No lo beses, among others.

In this production, I am accompanied by my nephew Taylor Aranguren and the musicians: Carlos Giménez, Rómulo Paiva, Jeison Marchán, Wílner Navas, Freddy Adrián, in the master and mixes: Latin Récods Digital.

Sound engineer: René Zerpa and in the general production: Jorge Luis Suárez. Jorge Luis, what are your social networks or digital platforms to interact with your followers? My contacts are, Instagram: @jorgeluissuarezoficial, Youtube: Jorge Luis Suárez Oficial, [email protected].

Jorge Luis, finally, we want to congratulate you for your consistency in music and wish you continue to fresh triumphs, because you have quality and to spare. Salsa Escrita “La Columna Salsera”, will be at your disposal to support you in your present and future projects, at a good time… Thank you professor and personal friend, Carlos Colmenárez, for offering me your support in your salsa column, allowing me to reach your regular readers all over the world; once again a thousand thanks, blessings and long live Venezuela!.

Cheo Valenzuela, “El Sonero de la Dulzura”

At the age of 7 he moved with his family to the city of Caracas, settling in one of the most popular parishes: La Pastora. Welcome Cheo to Salsa Escrita, "La Columna Salsera" and the International Salsa Magazine. — Cheo Valenzuela, “El Sonero de la Dulzura”

We are pleased to have as a special guest in our salsa column one of the vocalists who has a unique, admirable and respected quality of interpretation, which has been highlighted in our country and abroad and took his flavor and swing with great professionalism and hierarchy. We are talking about Cheo Valenzuela, “El Sonero de la Dulzura”, born in Cantaura, Anzoátegui on January 24th.

At the age of 7, he moved with his family to the city of Caracas, specifically in one of the most popular parishes: La Pastora. Welcome Cheo to Salsa Escrita, “La Columna Salsera” and International Salsa Magazine. Thank you, my friend and professor Carlos Colmenárez, for giving me the opportunity to be present in this tribune of our Afro-Caribbean music, which serves us to make known our talents and musical projects and thus be able to interact with its ragular readers in Venezuela and around the world. Cheo, to begin with, we would like you to tell us how your beginnings in music were. Carlos, at the age of 14 I began my career as salsero and eventually I was called to join quite renowned orchestras.

Such as? I belonged to the Latin Dimension, then Oscar D’León called me nd I was at his side with his orchestra; later I joined “Nuestra Orquesta la Salsa Mayor”; later I was called by “La Sonora Antillana”; then I joined the following groups: Rumbero Menor, Venezuelan Master Orchestra, Orquesta los Latinos, among others. Nowadays I have my own salsa orchestra “Cheo Valenzuela y su Orquesta” and also my own bolero group, called “Cheo Valenzuela y su Ensamble”. It is amazing, Cheo, we really admire your work, which has been persevering and constantly on the up over the years with national and international projection. Yes, Carlos, let me tell you, apart from thanking you for inviting me to your salsa column, I was launched as a soloist some time ago and I currently have two musical productions, the first one entitled “Cheo Valenzuela y su Orquesta eres tù”.

I belonged to Dimensión Latina, then Oscar D'León called me and I was at his side with his orchestra; then I joined "Nuestra Orquesta la Salsa Mayor"; later he called me "La Sonora Antillana". — Cheo Valenzuela y su Orquesta

This CD is composed of traditional salsa, romantic salsa, bolero, son and ballads. Dear salsa lovers and consistent readers, let me tell you that Cheo, every time he gets on stage, shows off all his musical talent with total stage control, since he is a sonero backed by multiple experiences acquired in his presentations, both in Venezuela and in the different countries he has visited.

Cheo, what can you tell us about your current musical situation? Professor Carlos, at present I am presenting the new promotional theme to all music lovers, which is part of my second musical production called “Salsa buena”, a theme of my own with musical arrangements by Venezuelan pianist, trombonist and singer Mauricio Silva, which we hope will lead to your full satisfaction.

Of course, it will be a success, my friend Cheo, because your productions always carry an indisputable seal of quality. By the way, what are your digital platforms and contacts? You can get me as Cheo Valenzuela in all social networks, you can also do it by email: [email protected] and [email protected] and for bookings by phone +58 424 1044822 and +58 416 6388420.

At the end of the interview, let me say that it was an honor to have you in Salsa Escrita “La Columna Salsera” and wish you continue to succeed inside and outside our country, so that we all enjoy Cheo Valenzuela “El Sonero de la Dulzura”.

A thousand thanks, Professor Carlos Colmenárez, for your unconditional friendship and for giving me a space in your column through International Salsa Magazine, I also predict successes to bulk and that you continue to support us in order to make our productions and presentations known very soon in the name of the lord. Blessings to you Carlos and count upon the Cheo Valenzuela’s friendship “Con Dulzura” and a lot of salsa…!

Gustavo Gerardo

“Singer and composer from Venezuela to the world”.

Today’s character is the extraordinary vocalist Gustavo Adolfo Gerardo González, artistically known as Gustavo Gerardo: singer and composer. He was born in Caracas, Venezuela, on September 12, 1972.

He began his career in July 1990, studied theory, solfege, and lyrical singing at the José Reyna School (CONAC). He has participated in different orchestras and accompanied more than 90 artists or orchestras of Venezuela, and almost 60 of other countries live and/or in record productions, on backing vocals or as a soloist.

His voice has transcended boundaries of his land, as he has sung on stages in Panama (Chiriqui and Panama City), Colombia (Cali, Bogota, Manizales, Medellin, Quibdó, Apartadó, Barranquilla, Supía, Istmina, Pereira, Necoclí, Marmato), France (Marseille and Dax), and Mexico (DF).

He has already recorded his first album, which will be entitled “Valió la Pena Esperar”, under the musical production of Víctor “Piolín” Gámez, of which 3 songs are already known, and at the same time he is working on what will be his second album, still without a name, produced musically by Irving Manuel, of which 2 releases have also been made: his first single as a soloist, “Volveré a nacer en ti”, to be released in October 2015, with lyrics and music by Sonsireth Perdomo and arrangements by Alexis Sánchez.

His second promo single “Manos Negras” was released in May 2016, a composition by Pedro Linares, and an arrangement by Víctor “Piolín” Gámez. In February 2017 he presented his third proposal, “Lo que me quedó”, a composition by Colombian singer-songwriter Santiago Cruz, with an arrangement by Irving Manuel; all accompanied by video clips made by Montmadfilm and Jam Producciones.

In October 2017, in Medellín, he released his fourth single, “Se me acabó el amor”, whose authors are Karen Loewy and Ricardo Prado, arrangements by Irving Manuel. February 2018 was the month chosen for several Youtube channels (Venezuela, Colombia, Mexico, Ecuador and Peru) to make public their fifth theme, “Me extrañarás”, again with arrangements by Irving Manuel, and authorshipof lyrics and music by Sonsireth Perdomo; both accompanied by audiovisuals in photo format made by Jam Producciones.

There is particular focus on featuring or collaborations in productions by other artists: “Cuando una madre se va”, (Los Andrade ft Gustavo Gerardo / May 2017); “Homenaje a Leo” (Luis Ángel Tovar y su Distrito Salsa ft Gustavo Gerardo / 2017); “Ángel o demonio” (Carlitos Flores ft Gustavo Gerardo / December 2017); “007 Mambo” (Orquesta Siguarajazz ft Gustavo Gerardo / September 2018).

Among the songs recorded as the leading voice in recordings by Venezuelan artists are: “Plazos traicioneros” (Reinaldo Torcatt y su Orq. “La Manzana”), “Mujer sensual” (Pedro Méndez y su Orquesta), “Vuelve” (Pedro Méndez y su Orquesta), “Sueño enamorado” (Pedro Méndez y su Orquesta), “Ahora Dios sabe” (Pedro Méndez y su Orquesta), “Ven tú” (Machado y su Orquesta 210), “Esa mujer” (Machado y su Orquesta 210), “Dudo” (Machado y su Orquesta 210), “Marijuana” (Carlitos Guzmán y su Orquesta), “La lluvia” (Carlitos Guzmán y su Orquesta), “Me falta todo” (Carlitos Guzmán y su Orquesta), “De jean y franela” (Carlitos Guzmán y su Orquesta), “Nunca dejé de amarte” (Frank Márquez y su Orquesta) “Dancing was dancing” (Sabadonga), “At Maria’s house” (Sabadonga), “Thirsty for rumba” (Sabadonga), “Paint your lips Maria” (The Constellation “Wladimir Lozano”), “Llanerísimas 1” Popurri (Los Eléctrikos del Vallenato), “Burial night” (Los Eléctrikos del Vallenato), “Nobody is eternal” (Los Eléctrikos del Vallenato), “The Testament” (Los Eléctrikos del Vallenato), “The Old Men are in charge” (Los Eléctrikos del Vallenato), “Your love is good for me” (Los Eléctrikos del Vallenato), “Back to the Amazon” (Kenny su Orquesta El Trovador de la Salsa / September 2018.

Venezuelan artists or orchestras that has been accompanied by Gustavo Gerardo live and/or in record productions, on background vocals or as a soloist:

His first album, "Valió la Pena Esperar", is already recorded, under the musical production of Víctor "Piolín" Gámez, of which 3 songs are already known, and in parallel he is working on what will be his second album, still unnamed, musically produced by Irving Manuel, of which 2 releases have also been made: his first single as a soloist, "Volveré a nacer en ti", was released in October 2015, with lyrics and music by Sonsireth Perdomo and arrangements by Alexis Sánchez. Her second promotional single, "Manos negras" was released in May 2016, a composition by Pedro Linares, and arrangement by Víctor "Piolín" Gámez. In February 2017 he presented his third proposal, "Lo que me quedó", composed by Colombian singer-songwriter Santiago Cruz, with arrangement by Irving Manuel; all accompanied by video clips made by Montmadfilm and Jam Producciones. — Gustavo Gerardo Singer and composer from Venezuela to the World

Marianella (La Rubia de la Salsa), 2. Salvador Pino, 3. Naty y su Orquesta, 4. Wladimir Lozano, 5. Hildemaro, 6. Erick Franchesky, 7. La Salsa Mayor, 8. Paquito Barón, 9. Mariana (La Sonera de Venezuela), 10. Los Generales de la Salsa, 11. La Dimensión de Siempre, 12. La Constelación, 13. Magia Caribeña, 14. La Orquesta de Franklyn y Alonso, 15. Cheo Valenzuela, 16. El Pavo Frank Hernández, 17. Canelita Medina, 18. Trina medina, 19. Rodrigo Mendoza, 20. Cesar Monges (Albóndiga y su Pandilla), 21. Roxana, 22. Wilmer Cobos, 23. Jimmy (El León), 24. Mundito y su Orquesta Celestial, 25. Edgard Rodríguez (El Abuelo), 26. Orquesta Caché, 27. Pasión Juvenil, 28. Wilmer Lozano, 29. Wiwi Buznego, 30. Orquesta Filarmónica Nacional, 31. Argenis Carruyo, 32. Julio Moreno, 33. Pedro Santana, 34. Reinaldo Torcat (Orquesta la Manzana), 35. Pedro Méndez y su Orquesta, 36. Tommy Mata, 37. Descarga Criolla de Pibo Márquez, 38, Orquesta Los Satélites, 39. Wilman Cano, 40. Bazil Alexander, 41. Oscar D´León, 42. José Madera Niño (3er Mundo), 43. Machado y su Orquesta 210, 44. Orquesta La Negramenta, 45. Carlitos Guzmán y su Orquesta, 46. Frank Márquez (El Ingeniero del Timbal), 47. Los Soneros de La Calle, 48. Orquesta Calle Luna, 49. Lisandro Torres y su Orquesta, 50. Luis Conny, 51. Adrián Marchán, 52. Roberto Antonio, 53. Mireya, 54. Marco Toro y su Ensamble, 55. Orquesta Selecto, 56. Orquesta Puerto Rico es Salsa, 57. Charanga Cien Fuegos, 58. Orquesta Tierra en Trance, 59. Swing Band, 60. Orquesta Camagüey, 61. Tito Gamero y su Orquesta, 62. María José Estrella y su Grupo, 63. Milenio Banda Show, 64. Orquesta Entre Panas, 65. Orquesta La Trayectoria, 66. Orquesta Los Latinos, 67.?Mayito Rivera, 68. Louis Cuellar, 69. Wito Rodríguez, 70. Jairo Andrade y Charlie Andrade (Los Andrade), 71. Siguarajazz Orquesta, 72. Alejo Beltrán, 73. Mauro Mosquera, 74. Sammy Marrero y su Orquesta El Trovador de la Salsa, 75. Mario Kaona y su Orquesta, 76. Diego Velasco (D´Velasco), among others.

Currently, he records songs for his solo record productions, teaches vocal technique classes in Medellin, Colombia: vocal coach and recordings vocals or leading voice for other artists.

He participated in the symphonic Latin concert of radio station Latin Stéreo Medellín, in which he interpreted the work Hommy of master Larry Harlow and the always cheerful theme by Raphy Leavitt, accompanied by the Symphonic Orchestra of the University of Antioquia. Finally, Gustavo Gerardo reiterated the invitation to the Gala Night this Saturday, November 2 at the Santo Juan Nueva Era club in Medellin.

For bookings, please contact him at +57 323 5116736 with his legal representative Sonsireth Perdomo. From “Salsa Escrita” the salsa column and from this servant Carlos Colmenárez, we wish all success to this extraordinary Venezuelan vocalist.

Negramenta Orchestra

One of the Venezuelan salsa bands with greater international projection "La Negramenta", an orchestra formed in 1998 by Pedrito Linares and Willians Castillo, with the idea of highlighting all the contribution that Barlovento has given to salsa. In 2008 they recorded their first production "Cosas de negros". "La Negramenta" has its origin in the "Orquesta Magistral", founded by Pedro "Saba" Linares. The name of the group "Negramenta", is given to highlight the gentilicio, ideals and feelings of its people. — Negramenta from Barlovento and its black guy stuff

Negramenta from Barlovento and its black guy stuff.

It is the turn of one of the most onternationally recognized Venezuelan salsa bands “La Negramenta”, an orchestra formed in 1998 by Pedrito Linares and Willians Castillo, with the idea of highlighting all the contribution given by Barlovento to salsa. They managed to record in 2008 their first production “Cosas de negros”. “La Negramenta” has its origin in the “Orquesta Magistral”, founded by Pedro “Saba” Linares. The name of the group “Negramenta”, is given to highlight the kindness, ideals and feelings of its people.

They have recorded the following productions: “Cosas de negros volume 2”, “Otra cosa”, “Pa’los cuatro vientos” and “Libre”. The list of their successes includes: Aquí no se rinde nadie, Música negra, No me caso, La ley y Pedrito el lento; by the way, these last two songs reached the top ten brands in the Latin environment of New York, Miami, Peru and Colombia.

The staff of “La Negramenta” is made up of: Wiwi Buznego, Anthoni Ramos and Noel Alexánder Machado (vocalists), Heyzer Cabrera (bongo and chorister), Renzo Hernández (tombales), Mauricio Landaeta (timbales), Willie Melo (piano), Franklin Rodríguez and Joel Brito (trombones), Luis Allen and Ignacio Blanco (trumpets), Wílmer Maestri (sax), Willians Castillo (bass and musical direction), Pedro Linares (composer and general director), Celedonio Martínez (production and animation).

La Negramenta’s contacts for booking are: +58 414 2988874 and +58 426 5132334

Orquesta Negramenta Los Buenos — Negramenta Los Buenos Orchestra

Inicio

Gerardo Rosales meets Orlando Poleo, who invites him to study Afro-Caribbean percussion in Caracas

Gerardo Rosales was born on July 6, 1964, in Caracas, Venezuela. He has been living in the Netherlands since 1993.

At the age of 8 he started studying piano and at the same time he became interested in playing congas and bongo.

In 1977, at the age of 13, he met Orlando Poleo, who invited him to study Afro-Caribbean percussion at the “Taller de Arte” in the Sarría neighborhood in his hometown Caracas.

From 1977 to 1980, he studied congas and bongo with Orlando Poleo, and timbales with Alberto Borregales.

In 1985, he studies Afro-Venezuelan percussion with Alexander Livinali at the “Fundación Bigott”.

In 1987 Gerardo starts his career with very important figures such as: Soledad Bravo, Cecilia Todd, Canelita Medina, Alberto Naranjo y el Trabuco Venezolano, Maria Rivas, Joe Ruiz, Ilan Chester, Orquesta Café, Trina Medina y Yarake, Victor Cuica among others.

At the same time, Gerardo began his own orchestra called “Salsa 70” and with it he toured the neighborhoods, theaters and night spots of the capital.

In 1992, he receives an invitation to participate in the Expo Sevilla in Spain, with the group ‘Caracas Son 7’.

From that moment on he decided to settle in Europe. In 1993, he releases his first CD “Gerardo Rosales y su Salsa Pa’lante”, in Spain, which was recorded in Venezuela.

At the same time, Gerardo started his own orchestra called "Salsa 70" and with it he toured the neighborhoods, theaters and nightclubs of the capital. — In 1992, he received an invitation to participate in the Expo Sevilla in Spain, with the group “Caracas Son 7”.

From this moment on he is invited to work in France with Alfredo Rodriguez and Orlando Poleo; in Germany with Conexión Latina and Nicky Marrero and in Holland with Saskia Laroo, Jose Avila y su Quimbombo and Cedric Dandaree. In 1995, Paquito D’Rivera invited him to participate in the recording of the CD “Bebo rides again” together with the legendary Cuban pianist Bebo Valdés.

From 1996 until now, Gerardo Rosales has been touring Europe with his own salsa and Latin jazz projects. Gerardo has earned the respect and admiration of the public through his concerts and recordings, managing to spread and project rhythms from Venezuela, Cuba, Puerto Rico, Colombia, Peru, Curaçao, Suriname and the Caribbean.

In 2002, he produced the music for the film “Madamme Jeanette” directed by Paula van der Oest which was nominated for an Oscar as a Dutch film.

These are the titles of his CDs: “Salsa pa lante” (1992), “Venezuela Sonora” (1996), “Señor Tambó” (1998), “El Venezolano” (1999), “Rítmico & Pianístico” (2001), “La Salsa es mi Vida” (2001), Tribute to Fania all stars (2003), Charanga La Crisis “Salsa Antigua” (2005), Mongomania “Tribute to Mongo Santamaria.

Gerardo Rosales has accompanied on tours, recordings and performances in Europe artists such as:

Dee Dee Bridgewater, Benny Bailey, Paquito D Rivera, Bebo Valdés, Toots Thielemans, Jimmy Bosch, Juan Pablo Torres, Herman Olivera, Oscar D’León, José Alberto “El Canario”, Andy Montañéz, Meñique, Edy Martínez, Carlos “Patato” Valdés, Conexión Latina, Orlando Valle “Maraca”, Alfredo Rodríguez, Armando Peraza, Luisito Quintero, Robert Quintero, Ramón Valle, Larry Harlow, Adalberto Santiago, Frankie Vázquez, Oscar Hernandez, Africando, Chamaco Rivera, Luisito Carrion, Jorge Herrera, Edgar Dolor, Dorance Lorza, Ajo Porro, Luisito Rosario, David Cada and Tito Allen.

Discography by Gerardo Rosales:

Gerardo Rosales has accompanied artists on tours, recordings and performances in Europe — Discography by Gerardo Rosales:

2019 Gerardo Rosales “Cachandera and Singapore Vibes” (Single)

2016 Gerardo Rosales “Salsa Vintage” (Download – CD )

2014 Gerardo Rosales “Son Del Sofa” (Single) ITunes

2013 Gerardo Rosales “Síguelo” (CD)

2011 Gerardo Rosales “Chano Pozo’s Music” (CD)

2011 Gerardo Rosales “30 Aniversario” (CD)

2010 Cachao Sounds “La Descarga Continúa” (CD)

2010 Gerardo Rosales “Buscando Chamba” (CD)

2009 Venezuelan Masters Orchestra “Toros y Salsa” (CD)

2008 Gerardo Rosales “Salsa Mundial” (CD)

2007 Our Latin Groove “Bringin’ it All On Back” (CD)

2005 Gerardo Rosales “Mongomanía” (CD)

2005 Charanga La Crisis “Salsa Antigua” (CD)

2004 Gerardo Rosales “Tribute to Fania” (CD)

2001 Gerardo Rosales “La Salsa es mi Vida” (CD)

2001 Gerardo Rosales & Edy Martínez “Rítmico y Pianístico” (CD)

1999 Gerardo Rosales “El Venezolano” (CD)

1998 Gerardo Rosales “Señor Tambó” (CD)

1996 Gerardo Rosales “Venezuela Sonora” (CD)

1992 Gerardo Rosales “Salsa Pa’lante de Venezuela” (CD)

1991 Gerardo Rosales “Salsa Pa’Lante de Venezuela” (33 RPM Vinyl)

Discography of Gerardo Rosales with other artists:

Orquesta Cafe “Criollisima” 1987 (Fama) Venezuela ( Salsa )
Joe Ruiz – Javier Plaza – Jose Torres – Gerardo Rosales

Bebo Valdes “Rides Again” 1994 ( Messidor) Germany ( Latin Jazz )
Bebo Valdes – Paquito D Rivera – Patato Valdes – Amadito Valdes – Gerardo Rosales

Conexion Latina – “La Conexion” 1996 (Enja) Germany ( Salsa )
Rudi Fuesers – Leslie Lopez- Anthony Martinez – Nicky Marrero – Gerardo Rosales

David Rohschild “Looking Up” 1997 (Via) The Netherlands ( Salsa )
David Rothschild – Adalberto Santiago – Banjamin Herman – Gerardo Rosales

Leslie Lopez “Bomba Moderna” 1999 (Buitenkunst) The Netherlands (Latin Jazz)
Leslie Lopez – Ramon Valle – Joe Rivera – Nils Fischer – Gerardo Rosales

The Rosemberg Trio “Suenos Gitanos” 2001 (Polydor) The Netherlands ( Latin )
Rosemberg Trio – Toots Thielemans – Leonardo Amuedo – Gerardo Rosales

Ronal Snijders “Bijlmerjazz 2004 (Independent) The Netherlands (Jazz)
Ronal Snijders – Randal Corsen – Jesse van Ruller – Gerardo Rosales

Cubop City Big Band “Arsenio 2004 (Tam Tam) 2004 The Netherlands (Cuban)
Lucas van Merwijjk – Edy Martinez – Nelson Gonzalez – Gerardo Rosales

Drums United “World of Rhythm” 2006 (Tam Tam) 2004 The Netherlands (World Music)
Lucas van Merwijk – Nils Fischer – Aly N ‘ Diaye Rose – Gerardo Rosales

Samba Salad – Metropol Orkest “Live Vredenburg” 2006 The Netherlands (World Music)
Herman Link – Dick Bakker – Maurice Luttikhuis – Rita Iny – Gerardo Rosales

Aquilez Baez “ La Patilla” 2007 (Cacao) Venezuela (Latin Jazz)
Aquilez Baez – Anat Cochen – Huascar Barradas – Diego Alvarez – Gerardo Rosales

Maria Catharina “Obsecion” 2010 (Independent) The Netherlands (Jazz)
Maria Catharina – Adinda Meertins – Thomas Bottcher – Marc Bischoff – Gerardo Rosales

Masalsa “Resurreccion” 2012 (Independent) The Netherlands (Salsa)
Soeshiel Sharma – Ray de La Paz – Marcos Bermudez – Cachito Vaz – Gerardo Rosales

Izaline Calister “Kandela” 2012 (Coast to Coast) The Netherlands (Latin)
Izaline Calister – Yumarya – Vernon Chatlein – Larc Alban Lotz – Gerardo Rosales

Africando “Viva Africando” 2013 (Sterms Music) France (Salsa)
Boncana Maiga – Oscar Hernandez – Doug Beavers – Luisito Quintero – Gerardo Rosales

Mezcolanza “Headbanger” 2015 (O.A.P Records) The Netherlands (Jazz)
Peter Wenk – Chistof May – David Barker – Mick Paauwe – Gerardo Rosales

Tango Extremo “ Havana” 2015 (JWA) The Netherlands (Latin)
Ben van den Dungen – Rob van Kreeveld – Tanya Schaap – Gerardo Rosales

Orquesta La Potente “ Potente “ 2018 (Independent) Colombia (Salsa)

Coco Ramirez – Guarnizo – Gerardo Rosales

Barry Hay & JB Meijers (Universal Music Group) 2019 The Netherlands ( Pop)

Barry Hay – JB Meijers – Gerardo Rosales.

Gerardo Rosales

( Salsa – Latin – Jazz – Cuban )

Bands – Percussion Workshops – DJ – Percussionist – Shows

+31627862001

[email protected]

The Netherlands

Génesis of Salsa, its essence, characteristics, rhythm, history and expansión

Salsa and more Salsa

SALSA is the commercial term used since the late 1960s to define a Hispanic music genere, resulting from the synthesis of Cuban son and other Caribbean music genres with jazz and other American rhythms. Salsa has varieties from Puerto Rico, Venezuela, the Dominican Republic, Colombia and other Latin American countries.

From this synthesis, Afro-Cuban and Latin jazz was also born, which has influences from other countries as well. Salsa was developed by musicians of Caribbean origin (Cuban and Puerto Rican) in the Greater Caribbean and New York City. Salsa encompasses various styles such as salsa dura, salsa romantica and timba.

Genesis and expansion of salsa: chronology of themes

ESSENCE

Cuban director Machito said that salsa was what he had played for forty years (between 1930 and 1970 approximately) before the musical genre was named. On the other hand, the New York musician of Puerto Rican descent, Tito Puente, denied the existence of salsa as a genre in itself, affirming that “what they call salsa is what I’ve played for many, many years: it’s called mambo, guaracha, chachachá, guaguancó, everything is Cuban music.

The musician Eduardo Morales defines salsa as “a new turn of the traditional rhythms to the sound of Cuban music and the cultural voice of a new generation,” “a representation of Cuban and Hispanic identity in New York.

New York Salsa

It is also argued that the cut in cultural exchange between Puerto Ricans and the United States — New York Salsa

Nevertheless, some authors point out as a fundamental element in the emergence of salsa the role of Puerto Rican musicians and their culture, both on the island of Puerto Rico and in its New York diaspora. In that sense, the specific weight of Puerto Ricans in New York is pointed out, who, although a minority, were
Numerically far superior to any Latin American settlement.

It is also argued that the cut-off in cultural exchange between Puerto Ricans and the United States in New York’s Latin music scene.

MUSICAL CHARACTERISTICS

Musical Instruments

The sauce has the following characteristics:

Rhythm: It uses as a base the clave de son, the rhythmic pattern of the Cuban son, which can be 2-3 or Melody:
In many cases, the melodies used in salsa correspond to those traditionally used in the son montunoa although it can also be assimilated to other genres of Cuban and traditional Caribbean music, including melodies of Latin American popular music.
Harmony: It corresponds to that used in Western music.
Instrumentation: It uses Cuban percussion instruments popularized since the 1920s such as pailaso timbales, bongo, Cuban güiro, cowbell, two maracas and conga.

Arsenio Rodríguez was the first musician to incorporate the conga or tambo into dance orchestras.

The percussion, the instrumentation is completed with piano, double bass (in many cases electric bass), trumpets, saxophone, trombones, flute and violin.

Puerto Rican Salsa

The influence of Afro-Cuban jazz is determined by the arrangement, although it is not an essential condition in salsa.

RHYTHM

Clave de son the most representative rhythmic cell of salsa is called “clave de son” which is traditionally interpreted by the claves.

Salsa dancers and musicians group the pattern into two parts:
1. A) A part of 3 clave touches where an intermediate counter rhythm is presented.
2. B) A part of 2 keystrokes of clave 2 without a counter rhythm.

The numbers represent the blacks, the plus sign [+] represents the hit of the claves, and the dot [.] represents each quaver.
“son key 3-2”
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
+ . . + . . + . . . + . + . . .
“son key 2-3”
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
. . + . + . . . + . . + . . + .

Rumba key
There is another similar rhythmic pattern that is rarely used in salsa, and comes from the Cuban rumba complex. This pattern presents 2 counter-rhythms in one of its parts.
“rumba clave 3-2”
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
+ . . + . . . + . . + . + . . .
“clave e rumba 2-3”
1 . 2 . 3 . 4 . 1 . 2 . 3 . 4 .
. . + . + . . . + . . + . . . +

Son Key (3-2)
The clave is not always played directly, but forms the basis of other percussion instruments, as well as the song and accompaniment, which use it as a common rhythm for their own phrases. For example, this is the common rhythm of the bell with harpsichord 2-3:
. . + . + . . . + . . + . . . + clef 2-3
+ . * . + . * * + . * * + . * * Bell coincides with the 2 of key
The plus sign [+] represents a severe blow of the bell.
The asterisk [*] represents a sharp blow of the bell.

Salsa Cubana — In 1933, Cuban musician Ignacio Piñeiro first used a related term, in a Cuban son entitled “Échale salsita.

THE TERM SALSA
In 1933, Cuban musician Ignacio Piñeiro first used a related term, in a Cuban son entitled “Échale salsita”.

In the mid-1940s, Cuban Cheo Marquetti emigrated to Mexico.

Back in Cuba, influenced by spicy food sauces, he gave that name to his group Conjunto Los Salseros, with whom he recorded a couple of albums for the Panart and Egrem labels. In 1957 he traveled to Caracas-Venezuela for several concerts in that city and it was in Venezuela where the word “salsa” began to be broadcast on the radio to the music made by Cuban soneros inside and outside the island, designating them as “salseros”.

Music author Sue Steward states that the word was originally used in music as a “cry of appreciation for a particular spice or a quick solo,” coming to describe a specific genre of music from the mid-1970s “when a group of “Latin” (Latin American) musicians from New York began examining the arrangements of the great popular classical bands from the mambo era of the 1940s and 1950s.

She mentions that the first person who used the term “salsa” to refer to this musical genre in 1968 was a Venezuelan radio disc jockey named Phidias Danilo Escalona, who was broadcasting a morning radio program called La hora de la salsa (The Salsa Hour) in which Latin music produced in New York was broadcast as a response to the bombardment of rock music in those days (the Beatlemania).

The Time for Salsa According to this version, Phidias Danilo Escalona

Salsa time — Venezuelan radio disc jockey named Phidias Danilo Escalona

What do you play?
What we do, we do with flavor, it’s like ketchup, which gives flavor to food.
What is this ketchup?
Well, that’s a sauce that is used in the United States to flavor the hamburger.Ah…! So what you guys play is sauce? Well, ladies and gentlemen, let’s now listen to the salsa of Ricardo Ray and Bobby Cruz.

Bobby Cruz called Pancho Cristal to baptize with the term “salsa” the new LP that was being launched to the market, Los Durísimos (1968). This version is supported by salsa singers such as Rubén Blades, Tite Curet Alonso and others.
It was lunchtime, time for the dressing, the flavor, and of course, the Cuban son, the guaguancó, the guaracha and the montuno.

Ed Morales also mentions the word as being used to encourage a band to increase the tempo and “put the dancers on top” to welcome a musical moment, [and] express a type of cultural nationalism, proclaiming the warmth and flavor of Latino culture.

He also mentions Johnny Pacheco, who made an album called Salsa na’ má, which Morales translated as “you just need a little bit of salsa or seasoning.

The word salsa to designate music made by “Latinos” in the United States, began to be used on the streets of New York in the late 1960s and early 1970s.

By this time, Latin pop was not a major force in the music heard in the United States as it lost ground to doo wop, R&B and rock and roll.

The emergence of salsa opened a new chapter of Latin music in American popular music where the Fania All-Stars orchestra, directed by Dominican Johnny Pacheco who along with the late lawyer Jerry Masucci founded the important salsa label Fania Records.

HISTORY AND EXPANSION

During the 1930s, 1940s and 1950s, Afro-Cuban music was widely consumed by sectors of “Latino” (‘Latin American’) origin in New York City. Cubans in New York, Puerto Ricans, and other musicians from other countries, based their music largely on elements of Afro-Cuban origin.

According to some musicians and historians, [who?] salsa is a trade name given to all Cuban music in the 1970s. Salsa expanded in the late 1970s and during the 1980s and 1990s.

New instruments, new methods and musical forms (such as songs from Brazil) were adapted to salsa, and new styles appeared like the love songs of romantic salsa.

Meanwhile salsa became an important part of the music scene in Cuba, Puerto Rico, Colombia, Dominican Republic, Venezuela, Panama and as far away as Japan. With the arrival of the 21st century, salsa has become one of the most important forms of popular music in the world.

Origins and instrumentation:
The integration of the tumbadoras and bongo in the groups that played son montuno was a fundamental element in the instrumentation of dance orchestras.

Bongo and Tumbadoras

In the late 1920’s, the son sextets and septets, which used bongo, reached a remarkable popularity in Cuba. In 1928, Gerardo Machado, with the intention of reducing the influence of African elements in Cuban music, prohibited the use of bongo, congas and carnival groups, which caused the charangas orchestras with the use of timbales) to increase their popularity.

Bongo was reintroduced into Cuban popular music in the late 1930s.
Around 1940, Rafael Ortiz’s Conjunto Llave introduced the tumbadoras or congas into an orchestra, instruments that were previously only used in Afro-Cuban folk music.

Arsenio Rodríguez popularized the use of congas by integrating them into his ensemble, introducing the son montuno on a commercial level.

In the 1940’s, Mario Bauza, director and arranger of Machito’s “Los Afro-Cubans” orchestra, added trombones to the son montuno and the guaracha. These innovations influenced musicians such as José Curbelo, Benny More, Bebo Valdés. In the album Tanga (1943), Bauza fused elements of Afro-Cuban music with jazz.

The influence of Afro-Cuban jazz and the mambo developed by Pérez Prado in 1948 led to the introduction of the saxophone in the son montuno and guaracha orchestras. In 1955, Enrique Jorrín added trumpets to the charanga orchestras, which until then only used violin and flute.

By the 1950s, Cuban dance music, i.e., the son montuno, mambo, rumba, and chachachá, became very popular in the United States and Europe.
In New York City, the “Cuban sound” of the bands was based on the contributions of Cuban, Puerto Rican, and Dominican musicians. As an example, we can mention Machito, Tito Rodríguez, Johnny Pacheco, Tito Puente or even figures like the Catalan director Xavier Cugat.

On the other hand, and outside the New York circle, groups such as the Orquesta Aragón, the Sonora Matancera and Dámaso Pérez Prado y su mambo achieved an important projection at an international level.
The mambo was influenced by Afro-Cuban jazz and son. The great bands of this genre kept alive the popularity of the long tradition of jazz within Latin music, while the original masters of jazz limited themselves to the exclusive spaces of the bebop era.

The Latin music played in New York since 1960 was led by musicians like Ray Barretto and Eddie Palmieri, who were strongly influenced by imported Cuban rhythms such as the pachanga and the chachachá. After the missile crisis in 1962, Cuban-American contact declined dramatically.

In 1969 Juan Formell introduced the electric bass into Cuba’s sonero ensembles.
The Puerto Rican cuatro was introduced by Yomo Toro in Willie Colón’s orchestra in 1971 and the electric piano in the 1970s by Larry Harlow.

In the 1970s, Puerto Rican influence increased in the field of Latin music in New York and the “Nuyoricans” became a fundamental reference.

The word salsa to designate the music made by “Latinos” in the United States, began to be used on the streets of New York at the end of the sixties and beginning of the seventies.

By this time, Latin pop was not a major force in the music heard in the United States, having lost ground to doo wop, R&B and rock and roll. In that context, the emergence of salsa opened a new chapter in Latin music, especially in the United States.

The Fania record label
Fania All Stars

The history of salsa, in which a large number of musicians participated, can be traced to some extent in the history of some important record companies.

In the seventies, Fiesta Récord, Manhattan Recording Company, and especially Fania Records, launched a great number of “salseros” from New York, performing tours and concerts all over the world.

Fania Records was founded in March 1964 by lawyer and businessman Jerry Masucci and Dominican flutist and bandleader Johnny Pacheco.

Fania began with Larry Harlow and the production of El Malo by Willie Colón and Héctor Lavoe in 1967.
Fania Records gave the genre its definitive backing by recording and distributing the albums of the great majority of salsa stars of the 1970s.

Within this company, the Fania All Stars were formed, an orchestra that brought together a large number of musicians and salsa singers such as: Ray Barretto, Willie Colón, Johnny Pacheco, Rubén Blades, Héctor Lavoe, Ismael Miranda, Cheo Feliciano, Bobby Cruz, and guest artists such as Tito Puente, Celia Cruz, and Eddie Palmieri.

The Fania All Stars instrumental ensemble represented the new tours of Caribbean music in the 1970s. In addition to the piano and bass, the presence of percussion instruments such as timba, tumba and bongo were used extensively by Puerto Rican and New York orchestras since the 1940s.

The wind instrument section was made up of three trumpets and three trombones, a rather strange endowment in the Caribbean musical tradition that would shape the particular sound of Salsa to this day.

The absence of the saxophone was remarkable, since at that time it belonged to musical concepts of the past and to the magnificence of the Big Band. The substitution of the saxophone for the trombone made it possible to differentiate, to some extent, the sound of salsa from the traditional Cuban sound.

Finally, the presence of the Puerto Rican Cuatro played by the musician Yomo Toro, who joined the group to bring the guitar from the rural Caribbean to the urban music scene (both the Cuban Tres and the Puerto Rican Cuatro), stands out.

The Puerto Rican Cuatro acquired the status of soloist and flagship instrument in the Fania All Stars while establishing the instrumental and sound differences with Cuban music.

Salsa and more Salsa is the commercial term used since the late 1960s — Genesis of Salsa

Genesis and expansion of salsa: chronology of themes

In 1969, El Gran Combo de Puerto Rico recorded “Falsaria”. This song, initially a bolero, was interpreted as salsa.

Also Willie Colón’s orchestra with Héctor Lavoe as vocalist, recorded “Che che cole” and other important songs.
In 1965 Joe Cuba Sextet, with the singer Cheo Feliciano, recorded the song “El pito (I’ll never go back to Georgia)” and the same year the duo composed by Richie Ray and Bobby Cruz recorded the song “Comején”.

In 1971, Eddie Palmieri recorded the song “Vámonos pa’l monte” and Cheo Feliciano, as a soloist, recorded “Anacaona”.

In 1972 Fruko y sus Tesos, in Colombia, recorded “A la memoria del muerto”.
In 1973 Raphy Leavitt with La Selecta Orchestra recorded “Jíbaro soy”. At the same time, in Peru the song “Llegó la banda” by Enrique Lynch and his band was recorded, the same one that would be popularized by Hector Lavoe a year later.

In 1974 Celia Cruz and Johnny Pacheco recorded “Quimbara” and the salsa version of the Peruvian song “Toro Mata”, and Ismael Rivera did the same with “El nazareno”.
On the other hand, the Fania All Star festival held in Zaire that same year was an outstanding event in the diffusion of salsa.

In 1975, Venezuela’s Dimensión Latina, with Oscar de León as vocalist, recorded “Llorarás”, Fruko y sus Tesos recorded “El preso”, and El Gran Combo from Puerto Rico, “Un verano en Nueva York”. Héctor Lavoe began his career as a soloist with the song “Periódico de ayer”.

In 1978 La Sonora Matancera recorded “Mala mujer”. Likewise, the duo formed by Willie Colón and Rubén Blades published the album Siembra, which contained emblematic salsa songs such as “Pedro Navaja” and “Plástico”.
In 1980 Henry Fiol released his songs “Oriente” and “La juma de ayer”.

From New York, salsa expanded first in Latin America (especially in countries like Cuba, Colombia, Panama, Dominican Republic, Venezuela and obviously Puerto Rico.
In the eighties it reached an important diffusion in Europe and Japan.

Miami became a kind of “second metropolis” for Cuban music, given the specific weight of the large number of Cuban immigrants.

The Cuban community became an important reference in the life of the city of Miami, contrary to what happened in New York, where the Puerto Rican influence prevailed.

Salsa after the seventies

Eighties
During the eighties the sauce expanded to Europe and Japan. In this country the Orquesta de la Luz was born, which became popular in Latin America.

At the end of this decade the so-called “salsa romántica” emerged, a style that became popular in New York, characterized by slow melodies and romantic lyrics, that is, a concept similar to the lyrics of the ballad but with a salsa rhythm.

This new manifestation of salsa was soon assimilated by Puerto Rican artists such as Frankie Ruiz, Eddie Santiago, Paquito Guzmán, Marc Anthony, Willie González, Cano Estremera; Cubans such as Dan Den, Rey Ruiz, Issac Delgado, and even Nicaraguans such as Luis Enrique.

In Colombia

Colombian Salsa

Salsa in Colombia, in the 1970s, was linked to groups like Fruko y sus Tesos through the company Discos Fuentes de Colombia and the group The Latin Brothers.

In 1988, the record company Discos Musart published the series of LP Salsa Colección Estelar, which caused an increase in popularity and led it to compete with cumbia.

In the eighties groups like Los Titanes, Grupo Niche, Orquesta Guayacán, Joe Arroyo appeared. Also in the eighties, the Cuban Roberto Torres and the Colombian Humberto Corredor developed in Miami the concept of charanga-vallenata.

Venezuelan Salsa

From the end of the 1940s and the beginning of the 1950s, the “tropical dance music” orchestras such as Alfonso Larrain’s (1947), La Sonora Caracas (1948) or maestro Billo Frómeta’s, Billo’s Caracas Boys (1951) or Los Melódicos (1958), combined in their repertoires cumbias, merengues and other Antillean rhythms with Cuban genres.

This determined the emergence of a movement that later influenced Venezuelan salsa.
In this sense, we can talk about artists such as Canelita Medina, Federico y su Combo Latino, Los Dementes or the group of the musician Carlos Emilio Landaeta, known as “Pan con queso” of the Caribbean Classic Sonero.

The salsa in Venezuela counted with groups like the Sonora Maracaibo, the Grupo Mango or Dimensión Latina, from where figures like Oscar D’León came out.

Also musicians like Nelson Pueblo added influences of llanera music to native salsa.
From 1990 to the present.
Salsa registered regular growth between the 1970s and 2000 and is now popular in many Latin American countries and some areas of the U.S. market.

Among the singers and groups that stood out in the nineties we find figures such as Rey Ruiz, Luis Enrique, Jerry Rivera, Dan Den, Marc Anthony, La InRosa, Víctor Manuelle, Michael Stuart, Celia Cruz, Maelo Ruizdia, La Sonora Matancera, DLG, Gilberto Santa .

The most recent innovations in this genre include mixing rap or reggaeton with salsa dura.
Salsa is one of the genres of “Latin” music that has influenced the music of West Africa.

An example of this influence is the group Sonero Africando in which New York musicians work with African singers such as Salif Keita and Ismael Lo.

The irruption of sensuality
From the eighties onwards, salsa orchestras began to move away from loud sounds and “descargas” to a more cadenced and melodic sound, accompanied by lyrics with abundant references to love and sexual relations as the main and, in some cases, exclusive reason.

This music was called “erotic salsa” and had as maximum exponents Eddie Santiago, Frankie Ruiz, Rey Ruiz, Willie González and Luis Enrique.

The categorization of erotic salsa resulted in the name of the previous genre as “salsa dura”, which suffered a decline in production and popularity at the same time that the new genre was consolidated. It is worth noting that in these opinions and texts about salsa there are any number of singers who are still active with it today and there are an infinite number of recordings made by them or orchestras that were not made known and that is where the work of the music lover or DJs comes in, IN DIFFERENT PARTS OF LATIN AMERICA.

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Percussionist, Singer, Singer-Songwriter, Producer and Leader is Hawaii’s Best Selling Latin Artist

During that time, Latin music was beginning to blossom and all kinds of Latin-style bands such as The Aliens, Latin Bloods, Los Beamers, Bandido, Unidad 77, and Limbo began to play in and around the Bay Area.

From Richmond (Virginia), Kadencia Orchestra launches its homage to the percussion instrument linked to joy and to the history of millenary ethnic groups that were expatriated from the mother continent to the shores of the New World centuries eailier.

His relationship with music dates back to high school, when he was a member of small groups that enterteined the well-remembered and popular marquee parties.

PLENA VIVA: after the breakup with this organization, he created the ORQUESTA KADENCIA around 2007 with whom he recorded by the end of 2009 (November), the production entitled LA VOZ DEL BARRIO that runs between the sounds of plena, bomba and salsa.

With respect to “No Me Quite El Tambor”, we share the name of the music credits, as well as the link to its official video.

By: Professor MSc. Carlos Colmenárez (Barquisimeto, Venezuela)

Jorge Luis Suárez, “Pride and Symbol of Afro-Caribbean Music”

Cheo Valenzuela, “El Sonero de la Dulzura”

Gustavo Gerardo

“Singer and composer from Venezuela to the world”.

Venezuelan artists or orchestras that has been accompanied by Gustavo Gerardo live and/or in record productions, on background vocals or as a soloist:

Negramenta Orchestra

Negramenta from Barlovento and its black guy stuff.

Gerardo Rosales was born on July 6, 1964, in Caracas, Venezuela. He has been living in the Netherlands since 1993.

From that moment on he decided to settle in Europe. In 1993, he releases his first CD “Gerardo Rosales y su Salsa Pa’lante”, in Spain, which was recorded in Venezuela.

Discography by Gerardo Rosales:

Salsa and more Salsa

New York Salsa

Arsenio Rodríguez was the first musician to incorporate the conga or tambo into dance orchestras.

Puerto Rican Salsa

The Time for Salsa According to this version, Phidias Danilo Escalona

Bongo and Tumbadoras

The Fania record label Fania All Stars

Genesis and expansion of salsa: chronology of themes

The Fania record label
Fania All Stars