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Nestor Torres

North America / USA / New York

If a flute could talk and sing, it would certainly be in the voice of Nestor Torres

If a flute could talk and sing, it would certainly be in the voice of Nestor Torres, for he speaks through his instrument. Equally fluent in Jazz, Classical and Latin sounds, his fluid versatility sets him apart.

Nestor’s total command of his instrument allows him a freedom of expression that is at once captivating and liberating, powerful and genuine.

Born in Mayaguez, Puerto Rico, Nestor Torres has played music all his life. His parents (His father, a gifted musician himself, and his mother, an educator and business woman) gave him a set of drums at age 5, and later took up the flute (at age twelve).

He moved to NYC with his family in his teenage years and went on to study at Mannes School of Music and later at the New England Conservatory of Music in Boston.

At that time he was also able to learn to improvise in a style of Cuban Dance music called ‘Charanga’, which helped to shape and develop Nestor’s melodic and danceable sound.

In 1981, Nestor moved to Miami, where he continued to develop his unique sound – and a strong following. Since then he has – and continues to – tour all over the world.

He has also performed and recorded Ricky Martin, Tito Puente, Herbie Hancock, Gloria Estefan, and many more.

Nestor Torres has recorded 14 Cd’s to the date. His 5th & 7th records, Treasure of the Heart and My Latin Soul, were nominated for a Latin Grammy, and his production This Side Of Paradise won the Latin Grammy award in the Pop instrumental category on September 11, 2001.

“Of course it was a great honor and privilege to win the Grammy,” Torres reflects. “That being said, the fact that I was to receive it on 9/11 gave my work and my music a stronger sense of mission and purpose. Terrorism and violence come from ignorance, anger, and hopelessness.

Music inspires and empowers; it soothes the human heart and enlightens the spirit. I have made it my prime point to create music and live my life in a way that does just that.”

From that experience, together with a commission to compose and perform for the Dalai Lama, Nestor Torres produced Dances, Prayers & Meditations For Peace in 2005.

In his brand new CD, Nouveau Latino, Nestor Torres returns to his Latin roots with a fresh approach, impeccable musicianship, and irresistible improvisations. Featuring songs from stars like Celia Cruz and Ruben Blades, Torres’ interpretations of these great Latin hits appeal to those discovering the songs for the first time as much as those who remember them.

In addition to his achievements in the studio and on the stage, Torres is also recipient of two honorary doctorate degrees; one in 1994 from Barry University, and the other in 2000 from Carlos Albizu University, for his commitment to youth education and cultural exchanges.

NESTOR TORRES: Facts & Career Highlights

• Classical and Jazz flute studies at Mannes School of Music, and New England Conservatory of Music.

• Early improvisational ‘on the job training’ playing in Cuban and Latin Dance bands including Ray Barretto, Eddie Palmieri, Celia Cruz and Tito Puente.

• Regular featured guest at the ‘Salsa Meets Jazz At The Village Gate’ series in NYC.

• Has toured Japan repeatedly, including collaborations with Herbie Hancock, and Wayne Shorter.

• Collaborations: with James Moody, Jon Faddis, Chris Botti, Larry Coryell, Hubert Laws, Arturo Sandoval, Michel Camilo, Paquito D’ Rivera, Danilo Perez, David Sanchez, Pablo Zigler, Makoto Ozone, Patrice Rushen, Bob James, George Duke, Wallace Roney, Peter Nero and Clare Fisher, among many, many others.

• Jazz Festivals: Capitol Jazz Festival, JVC Jazz Festivals; in Los Angeles and in NYC with Eddie Palmieri; Aspen Snowmass; Maui; Heineken in Puerto Rico and Dominican Republic; Sedona; Atlanta…. Among many others.

• Symphonic: Has performed with the New World, Singapore, Springfield Missouri, Charleston, Signature (Tulsa, OK), Puerto Rico, and Stanford Symphonies; Philly Pops Orchestra; and the Naples, Florida; Malaysia, and Florida Philharmonics.

• Recordings to date (14): ‘Colombia En Charanga’, ‘Afro Charanga Volume 2’, ‘No Me Provoques, ‘Morning Ride’, ‘Dance of the Phoenix’, ‘Burning Whispers’, ‘Talk To Me’, ‘Treasures Of The Heart’, ‘Canciones Primeras’, ‘This Side Of Paradise’, ‘My Latin Soul’, ‘Sin Palabras’ (Without Words),‘Dances, Prayers & Meditations For Peace’, and ‘Nouveau Latino’.

• Grammys: His Latin-jazz composition “ Luna Latina” (from Treasures of the Heart) was nominated in 2000 for a Latin Grammy as well as his CD ‘My Latin Soul’ in 2002. In 2001, he won a Latin Grammy for his CD ‘This Side of Paradise’.

• Two Honorary Doctorate degrees from Miami-based Universities – one in 1994 from Barry University and the other in 2000 from Carlos Albizu University – for his commitment to youth education and cultural exchange as an Ambassador of Peace and Culture.

Current location

Miami, FL USA

General Manager

Ivette Delgado/ [email protected]

Influences

My Father, Hubert Laws, Miles Davis,Tito Puente, Richard Egues & Orchestra Aragon

Contacto de prensa

Wanda Jimenez/ [email protected]

Representative

The Jazz Agency
[email protected]
818-813-5299

https://www.facebook.com/NestorTorresMusic/

The Royalty of our Latin Music Pete “El Conde” Rodríguez first singer signed by Fania Records label

Pedro Juan Rodríguez, Pete “El Conde” Rodríguez “La Realeza de la Salsa” (Born in Ponce, Puerto Rico on January 31, 1933).

First singer signed to the Fania Records label in conjunction with the Johnny Pacheco Orchestra and of outstanding participation with the Fania All Stars and his own orchestra.

His father, who made his living as a musician playing in a string quartet that entertained parties and social gatherings, guided him during his first steps as a musician.

By the age of 6, little Pedro was very skilled with the bongo and singing popular Puerto Rican songs of the time.

Things became difficult after the death of his father and as a teenager Pete had to emigrate to the United States (1946) to live with his aunt in New York.

Once in New York, Pete managed to establish himself as a percussionist in the Orquesta Oriental Cubana. Before, long before joining the great Pacheco, Pete had to go through several orchestras among which stand out: Las Jóvenes Estrellas de Cuba (57), the Típica Novel and the Broadway from which he left for personal reasons.

In May 1962 Pete Rodriguez (he was not yet called El Conde), joined Pacheco in a Charanguero orchestra (flute, violin, rhythm and chorus). The first album with Pacheco was Suavito in 1963.

By 64 Jhonny Pacheco and Jerry Massucci founded Fania Records and created the internationally recognized Fania All Stars.

Pete was the first singer that Fania had, and on his shoulders was the responsibility of taking that project forward. On Fania’s first album Cañonazo (1964) Pete performs the song Fania, a composition by Josualdo Bolanos, with which the orchestra was inaugurated.

The Realiza of our Latin Music Pete "El Conde" Rodriguez — The Realiza of our Latin Music Pete “El Conde” Rodriguez

Rodriguez’s first appearance with Fania was at the Greenwich Village Red Garter Club in 1968.

For reasons of life Pete had to leave Jhonny Pacheco’s group; the concrete reasons for this separation will remain a mystery, but it seems that his departure was due to personal disagreements with other members of the group.

After Pacheco, Pete packed up his motets and moved with Rey Roig and the Sensación group (1964-1968). From his time with this group w For the years 66-67, Pete returned to the ranks with Pacheco. This was a more mature stage where the marvelous duo achieved their greatest hits: Azuquita Mami, Convergencia, La Esencia del Guaguanco, Sonero, Viralo al Reves and others.

The turmoil of the time, the world events, the new way of dressing and people’s way of thinking made Pete change his appearance; he let his beard grow and changed his hairstyle a little. This change gave him a new image and a new name “EL CONDE”.

The Pacheco-Rodriguez duo lasted approximately 8 years, since in 74 El Conde decided to go solo.

That same year El Conde released his best selling and Grammy award winning album El Conde (1974). Two years later (1976) El Conde became part of the Salsa Hall of Fame immortalizing himself with Catalina la O.

With the appearance of Salsa Romántica and the onslaught of Dominican merengue in the markets, salsa entered a crisis which was reflected in the musical work of El Conde. So between 1983 and 1990 El Conde managed to record only 5 albums of which Salsobita (1987) stands out.

In 1993 El Conde made way for his son Pete Emilio and his daughter Cita Rodriguez who joined the group as second voice and backing vocalist.

The family was already complete because Francis Rodriguez, his wife, was in charge of the administrative and financial part of the group.ere the following songs Salsa, Bailando Conmigo and his hit El Rincón.

El Conde made his last recording on the Masterpiece Album (1999) with Tito Puente (1923-2000) and Eddie Palmieri. This album is considered posthumous because in that same year (2000) Tito and El Conde passed away.

Cepelio de Pete El Conde Jhonny Pachoco, Cheo Feliciano, Ismael Miranda y Papo Lucca

El Conde had suffered from heart problems for many years, but was always reluctant to have open heart surgery. Pete “El Conde” Rodriguez passed away of a heart attack on Saturday, December 2, 2000.

His remains were taken to his native Puerto Rico. He is survived by his wife Francis, his two sons Cita and Pedro Emilio, and his grandchildren.

Remains of Pete “El Conde” Rodríguez finally rest on the island. December 7, 2023 – After his death in 2000, the remains of Ponceño singer Pete “El Conde” Rodríguez were transferred from New York to the National Cemetery for veterans in Bayamón.

Source: El Pozo de la Salsa

Also Read: Héctor Martignon has been one of the most sought-after pianists on the Latin jazz scene in New York

Poncho Sanchez visited us at the Salsa Museum

Like every month, we are going to dedicate this edition to a very special name in the Latin music scene and it is about the extraordinary percussionist and conguero Poncho Sanchez, who has given us the honor of donating some of his congas and the suit he wore during the Grammy Awards to the Spaha Salsa Gallery Museum.

In gratitude to such a generous act, we want to dedicate the following lines to his brilliant career and everything he has contributed to Latin music with his work and talent.

Poncho playing the congas — Poncho Sánchez playing the congas live

Poncho’s beginnings in music

Pablo Sanchez, better known as Poncho Sanchez, is currently a percussionist and salsa singer who leads a renowned Latin jazz and Cuban music band. He became such a talented artist after a long journey in the difficult and competitive music industry.

Poncho is the son of two Mexicans from different cities who had eleven children, the musician being the youngest of them all. From a very young age, he developed an intense love for music, which led him to learn to play instruments on his own.

Although Poncho was born in Laredo, Texas, he spent all his childhood in Los Angeles with his family. In that place, he began to have a lot of contact with American jazz, Latin jazz and soul. During his adolescent years, his musical tastes were dominated by artists such as Mongo Santamaría, James Brown, John Coltraine, Miles Davis, among many others.

Poncho at Catalina Bar — Poncho Sánchez performing at Catalina Bar and Grill in Hollywood

When he decided he wanted to take music up professionally, he began to teach himself to play the congas, guitar, drums, timbales and flute. This is how he was preparing for what was to come in his professional life later on.

When he reached adulthood in his twenties, he was playing in various dance clubs for a while, until finally he got Cal Tjader and his group to notice his talent and invite him to join them.

Today, Poncho is very grateful to Cal and said that he learned a lot from him during the time he was in the group. In fact, he even recalled in an interview that he gave him some lessons just as he was a teacher and Poncho was a student. This, in order to be on par with his bandmates and be able to put on a good show to the public.

Poncho and Tito Puente — Poncho Sánchez and Tito Puente ”The King of Timbales”

Poncho as a soloist

In 1980, Poncho finally managed to form his own group with which he began to carry out certain projects, although he had not completely departed from Cal’s band. In fact, the conguero worked with the musical director till the end of his days in 1982.

Just a few months later, he signed with the Concord Records label to release his first official solo album, which he titled ”Sonando”, marking the beginning of a partnership that remains intact to this day. So far, Poncho has some two dozen recordings with Concord.

Following decades of starting his career, Poncho saw his dreams become a reality when he won a Grammy for ”Best Latin Album” in 1999 thanks to the Latin soul album he had recorded at the time. That’s when the artist finally felt that everything he had worked for in the previous years had paid off.

As for his latest album called ”Trane’s Delight”, Poncho seeks to pay homage to the artists who have inspired him and helped him develop his own art, as he considers that these personalities have been a fundamental basis for his growth as a music professional.

Héctor Martignon has been one of the most sought-after pianists on the Latin jazz scene in New York

New York based-, Colombian born Hector Martignon has composed, orchestrated, produced, performed and recorded music in a wide spectrum of genres, from Classical and Crossover, to Jazz and World Music, to Rock and Pop.

His five albums as a leader, two as co-leader (MOZART’s BLUE FANTASIES and BACH’s SECRET FILES) as well as his work on over a hundred albums, scores for five feature films, three Broadway Musicals and multiple other projects, showcase his wide-ranging area of expertise.

At Mozart Studios recording Carlos Jimenez’ second CD, + Ruben Rodriguez + Vince Cherico. A pleasure!

After several nominations as a sideman, two of his five solo CDs were nominated for a GRAMMY Award (REFUGEE, 2008, and SECOND CHANCE, 2010).

He arranged and performed parts of the score of Ang Lee’s OSCAR-nominated movie EAT, DRINK, MAN, WOMAN.

His first professional recording was at age 18 (Mikis Theodorakis’s “Canto General”) while one of the most recent was on legendary rock band CHICAGO’s latest production, the Latin-tinged “EXITOS”.

He has written symphonic orchestrations, performed and recorded by the Russian Philharmonic Orchestra and compositions like ABRE LOS OJOS, CIERRA LOS OJOS, commissioned and premiered by the MUSICA DE CAMARA STRING ORCHESTRA at St Patrick’s Cathedral in April 2011.

Hector Martignon is currently working on a first CD with his BANDAGRANDE Big Band + String Quartet as well as an album with selections out of a series of 7 solo piano recitals at the Ludwigsburg University of Education (Germany), where he conducts a “compact seminar” on Classic Music-based improvisation every November.

As a requested sideman he has toured the world with such greats as Paquito D’Rivera, Ray Barretto, Gato Barbieri, Steve Turre, Don Byron, Tito Puente and was featured pianist with Max Roach’s PROJECT AMERICA at the 92 St Y.

His joy of teaching has made him a requested guest-lecturer and performance teacher in music faculties and academies in several countries of Europe, Japan, North- and South America.

Hector wrote an instructional book on Latin piano commissioned and published by Hal Leonard, the SALSA PIANO BOOK.

Martignon’s abilities as a pianist have always been enriched by his interest in varied musical genres.

He paid for his studies of classical piano and composition at the prestigious Freiburger Musikhochschule in Germany by performing with the best Afro-Cuban and Brazilian bands of Europe, backing stars like Celia Cruz and Ismael Quintana on their European tours, and recording with Tata Güiness and Arturo Sandoval.

At the same time he was attending seminars of contemporary composition with masters like Gyorgi Ligetti, Luigi Nono and Karl Heinz Stockhausen.

He also performed classical music in recitals and concerts in Germany, Italy and his native Colombia, specializing in Chopin, Bach and Debussy.

One of his latest endeavors has been a Jazz-Classical crossover project, co-lead with star virtuoso trumpeter Joe Burgstaller, in which the music of the classics, from Bach to Ellington is re-created in a chamber-jazz setting, to be enjoyed on their two releases, “Mozart’s Blue Fantasies” and “Bach’s Secret Files”.

Living in Brazil for a one-year love affair with that country and its music, Martignon soon became a requested studio musician and worked for star producer Carlinhos Brown.

Since relocating to New York City, Martignon has been one of the most sought-after pianists on the Latin jazz scene.

He’s toured North and South America, Europe, and Asia with the bands of Mongo Santamaría, Gato Barbieri, Steve Turre and Don Byron, who had him record in his latest CD.

He was featured pianist with the bands of Tito Puente, Mario Bauzá, Chico O’Farrill, Paquito D’Rivera, and Max Roach in his “Project America.” Most notably, Martignon was pianist for the late Ray Barretto’s various ensembles.

During his eight-year association with Barretto, his contributions as pianist, arranger, and composer were fundamental in shaping the sound of the now famous New World Spirit Sextet.

One of his last collaborations with Barretto, “My Summertime,” was a favorite nominee for a Grammy award. Martignon’s versatility has also made him extremely active in the film and television industries.

Besides playing all piano parts, he arranged and produced many parts of the score for the Oscar-nominated film “Eat, Drink, Man, Woman” by Ang Lee and performed the piano and keyboard parts for many movie scores (i.e., “Gloria”, “Relativity”).

He is composer of the original music of two feature films, one of which, “Septimo Cielo”, won international awards. He also collaborated in the production of many Broadway musicals (“Chronicle of a Death Foretold”, Paul Simon’s “The Capeman”, “Selena Forever”) as conductor, arranger, and co-composer. In the fall of 2003 Hector visited Slovenia and Russia to collaborate with singer-songwriter Vitaly Osmsçko’s first symphonic CD.

The Russian Philharmonic Orchestra recorded in Moscow the orchestrations written by Hector.

As a composer, producer and arranger of TV and radio music his record is no less impressive. In 2001 he landed two spots for HBO Latino, and one for Coca Cola.

HECTOR” S FOREIGN AFFAIR In 1998 Martignon performed with his quartet “Foreign Affair”at the Brooklyn Academy of Music’s famed annual festival “The Next Wave” on a triple bill with Tito Puente’s “Top Percussion” and Don Byron’s “Music for six Musicians”.

This proved to be a turning point for him and his ensemble, which evolved from the strictly acoustic trio sound of the first two CDs to a more eclectic and electric quartet sound.

The new configuration that evolved from that memorable concert started a series of concerts and recordings, with guitarist Mark Whitfield, Cameroonian bassist Richard Bona and Cuban drummer Horacio “Negro” Hernández.

This quartet performed and recorded live during a weeklong stint at New York’s famous Birdland.

The group has also performed on BET television festivals, at jazz clubs in Manhattan, and made various appearances in clubs and open-air festivals in his native Colombia and in Europe.

Martignon’s third solo project, to be released in the fall of 2003, is not only a reflection of the group’s new musical direction but also of his interaction with other world class musicians.

Eddie Gomez, Jeff Watts, Mathew Garrison, John Benitez, Dafnis Prieto, Willard Dyson have all made their unique contribution to this, Martignon’s new sound of Jazz.

Hector In Amsterdam with daughter Leticia

Hector Martignon never fails to surprise, challenge and delight us. Stay tuned and get involved in this affair.

Site: Héctor Martignon

Also Read: “El Sol de la Música Latina” el primer premio Grammy para el histórico disco de Salsa Eddie Palmieri

Producer and saxophonist Martin Franco talks about his passion for music

Martin Franco is a talented New York’s producer, sound engineer, composer, vocalist, percussionist and saxophonist who has had a big trajectory in music, which he shared with us in a half-hour conversation we had.

The artist of Colombian parents has been kind enough to reveal some of the most important details of his artistic career and the process by which he has managed to become the professional in the music field he is today, so we hope the information revealed here will be liked by those who usually follow our publications.

Martin, founder of Mambo Soul Band — This is Martin Franco, saxophonist and founder of Mambo Soul Band

Martin’s interest in music while still a child

Something important we did not know about Martín is that, although both his parents are Colombian, they moved to Mexico when he was little and he spent the first eight years of his childhood in that country, before moving to Laredo, Texas.

At his new school in the US, he and his classmates were allowed to choose the instrument they liked most to learn to play it and the boy chose the saxophone, as he thought it was ”the most beautiful” at the time.

When Martin began his training, he discovered that he had a real taste for music and began to see it as a pleasant pastime and not an obligation, which led his mother to buy him his own saxophone and tell him to ”throw forward to music” if that was what he liked.

When he turned 12, the family moved back to New York, where Martin started to take music more seriously and meet people related to the industry. That was when percussion and tropical music also caught his attention, as Texas was packed with Mexican cumbia and other such rhythms.

On the other hand, New York had an immense Puerto Rican community and even his own aunts had married Puerto Ricans. Since this was the dominant community in the city in those years, Martin began hearing the conga, the keyboard, the trombone, the timbales and all the music made by the Fania. It was then when his musical tastes and plans began to change.

Martin and the rest of the group — Martin Franco and the rest of his orchestra Mambo Soul Band

Martín’s beginnings in music in New York City

When he arrived in New York, Martin was not old enough to start a professional career, so he was engaged to play with friends in the streets, houses, apartments and private parties. However, this time helped him a lot to gain experience and his family was a great support in all this.

Martín, his family and some of his friends used to go to see live Latin artists and orchestras such as Celia Cruz, Héctor Lavoe, Tito Puente, Eddie Palmieri, Ray Barretto, Mongo Santamaría, among others. This also represented part of his motivation to do salsa in the future, although he also liked American jazz, which features the saxophone, his favorite instrument.

The mix of Latin and American genres resulted in the music that became popular in those years, and the music Martin makes today has much of what he learned back then. It was a mix of Caribbean tropical rhythms, jazz and American funk.

The musician considers that American and Latin rhythms have complimented each other over the years and he always tries to unite them in his performances, just like English and Spanish.

Mambo Soul Band

The name ”Mambo Soul Band” is a mixture of ”mambo”, which means ”to greet someone” or ”to communicate” in some African dialects, and ”soul” in English. This resulted in something like ”to communicate from the soul”, a concept that fascinated Martin. At the same time, both are the names for well-known musical genres, the one Latino and the other American.

He selected these genres as the name of his band because they contain what influenced him musically speaking. Latin jazz, soul and funk were the genres on which Martin based his songwriting for the band he was creating and he hired musicians who had experience with these rhythms. And in case they do not master any of them, he teaches them.

According to Martín, guitarists and bassists are the ones who usually have more problems when playing or learning to play these genres, while a percussionist usually has a greater dominion over these areas.

Another variant of the same project also led by Martín is Mambo Soul Jazz, which offers music and songs much more inclined to the American way. Mambo Soul Jazz is more aimed at quiet events where people do not usually dance much and just want background music to enjoy the evening.

The choose of one or the another will vary depending on the public of the day, although the basis of everything is always Latin music.

Martin performing live — Martin Franco and Mambo Soul Band performing live

The most challenging aspects of the Latin music scene

In the view of Martin based on his experience, one of the most challenging things for him and his musicians is the economic issue. At the level where they are, they do not make big profits from their work, which contrasts to the high cost of living in California.

This situation has led many of the musicians to have parallel jobs that allow them subsistence since it is very difficult to make a living from music. The only alternative is to constantly tour with famous groups, but not everyone is willing to do that, so they prefer to work on other things.

In his particular case, he can afford to live only from music because he is the leader of the orchestra and the one who is in charge of getting contracts and shows for the group.

What we took from the conversation

From the beginning, we have noticed that Martin is a man absolutely passionate about his Latin roots and all that comes with them, especially the musical part. He always stressed that everything he does is for his love of music.

It is our pleasure to have the opportunity to talk with this great exponent of Latin and Afro-Caribbean music and we offer him our best wishes for success from now on.