Search Results for: Tito Puente

In front of adversity we grow with Johnny Cruz .

North America/ All USA

Johnny Cruz : This month I wanted to dedicate myself to good news, highlighting the work of those who, despite adversity, continue to strive to bring the best to the public. We keep working!

Gilberto Santa Rosa surprises us with his new album Colegas. His most recent phonogram. In this, Santa Rosa invested the last six years and presents 16 collaborations with Cuban artists -Isaac Delgado and Juan Jose Hernandez-Puerto Ricans -Tito Nieves, Tito Rojas, Luisito Carrion, Pirulo, Nino Segarra, Choco Orta among others-, as well as with a Dominican – Jose Alberto “El Canario” -.

Gilberto Santa Rosa - Colegas — Gilberto Santa Rosa – Colegas

The album is preceded by “40… y contando en vivo desde Puerto Rico”, an album recorded in 2018 live at the Coliseo de Puerto Rico in San Juan, to celebrate its 40 years of musical career. The majestic arrangements were the work of Dino Nugent (Apaga La Luz), Marty Sheller (Caminalo, Ban Ban Quere), Ramón Sánchez (Que Se Sepa), Javier Fernández (Tremendo Coco, Masacote), Louis García (Por La Calle Del Medio, Ocana Sordi, El Guateque De Chombo), Ricky González (Vamos a Bailar El Son, Eque Tumba), Manolito Rodríguez (Medley Boleros), José Madera (Bailadores), Rene González (Estoy como Nunca), Isidro Infante (Mario Ague, El Mejor Sonero, Sonerito), James Hernández (La Fonda De Bienvenido).

In good time Santa Rosa presents this production. He positions him on the GRAMMY platform and refreshes him in his role as sonero and incidentally, he extends a helping hand to some who had not recorded Salsa Brava again.

Tracks: La Familia; Caminalo; Que Se Sepa; Mazacote; Apaga La Luz; Sonerito; Por La Calle Del Medio; Nos Vamos A Bailar El Son; Medley Boleros; Ocana Sordi; Bailadores; El Mejor Sonero; Tremendo Coco; Estoy Como Nunca; Mario Ague; Eque Tumbao; La Fonda De Bienvenido; Ban Ban Quere; Guateque De Chombo.

Members: Angie Machado, Jan Duclerc, Jesús Alonso, turbidity Vilchez – trumpet; Charlie Sierra – maracas; Dino Nugent – violín; Johnny Torres, Pedro Perez – bass; Manolito Rodriguez – timbal; Rafy Torres, Toñito Vásquez, Víctor Vázquez, Reynaldo Jorge – trombones – trombone; Richie Bastar – bongo; Sammy García, Jimmie Morales – congas; Sammy Vélez, Josué Urbina; Pedro Méndez, Frankie Pérez, Janice Maysonet – saxophone; Luis Marín, Isidro Infante, Javi Fernández, Ricky González – piano; Orestes Vilató – timpani; Pablo “El Indio” Rosario – percussion; Meñique, Paquito Guzmán, Víctor Manuelle, Luisito Carrion, Justo Betancourt – backing vocals. Guests: Víctor Manuelle, Choco Orta, Juan José Hernández, Isaac Delgado, Yan Collazo, Luisito Carrion, Pirulo, Tito Nieves, Tito Rojas “El Gallo”, Ismael Rivera Jr., José Alberto “El Canario”, Carlitos Ramírez, Michelle Brava, Herman Olivera, Maelo Ruiz.

I take this opportunity to greet my good friend Johnny Rodríguez Jr., better known as Johnny “Dandy” Rodríguez, is an American bongo player. He was Tito Puente’s longtime bongo player, and also played with Tito Rodríguez, Ray Barretto, and Alfredo de la Fe. He belonged to various popular bands of the salsa era such as Tico All-Stars, Fania All-Stars, and Typica 73. He is a proud son of El Barrio (Spanish Harlem), New York, and stickball (street baseball) was more interested than music.

Marco Bermúdez - En mi voz — Marco Bermúdez – En mi voz

However, influenced by his father, Johnny, 17, earned the position of playing bongos in the Tito Puente Orchestra. Johnny spent more than 30 years with the orchestra, also working with Tito Rodríguez from 1965 to 1968 and with Ray Barretto from 1970 until the end of 1972. Johnny went on to form Tipica 73, of which he remained a member until 1979. He then returned to the band. Tito’s band, playing alongside him until the time of Tito’s death in May 2000.

Johnny “Dandy” Rodríguez Jr. continues to be a Latin jazz and salsa percussionist. Today he works as a percussionist in different Latin music ensembles, He is unstoppable and is very active with the Latin Jazz Giants (alongside his colleagues and Exclusive LP Artists Jose Madera and George Delgado) and that includes the stars from the original Tito Puente Orchestra. The band plays the famous music from the Palladium days of Tito Puente, Tito Rodríguez, and Machito, and also recorded The Giants Play the Music of the Palladium.

In 2008, Johhny entrusted LP’s Research and Development Department with the design of the John “Dandy” Rodríguez Jr. bongoes from the Legends series. John is proud that these drums, which bear his name, present such a sound and visual characteristics outstanding. Keep going, Johnny!

A few days ago, En Mi Voz, the solo debut of the Ecuadorian singer Marco Bermúdez, was officially launched on the market. This is a very good selection of ten songs, under the master hand of Oscar Hernández, the prestigious and renowned musician who is making his debut as a record producer with Ovation Records.

Pedro Bermudez - Arrasando — Pedro Bermudez – Arrasando

Marco has not saved anything for this premiere. He has met with his colleagues from the “Hispánica del Barrio” and the result could not be better: Jerry Madera, Máximo Rodríguez, Maneco Ruiz, Héctor Colón, Doug Beavers, Reynaldo Jorge, Jeremy Bosch, George Delgado, Luisito Quintero and Jorge González give solvency and flavor to En Mi Voz. The album opens with “Amanecer Contigo”, composed with four hands between Hernández and Bermúdez, where the trumpet solos by Maneco Ruiz and flute by Jeremy Bosch stand out.

Jeremy is also heard with his flute in his fine and heartfelt composition “Canto a mi Mamá” and in “Únicamente tú”, making Marco the second voice. The romantic spirit of the singer of the Spanish Harlem Orchestra and Mambo Legends Orchestra is confirmed in songs like “Solo Basta” and “Tu Regreso”. Oscar’s arrangements guarantee the key melody. Highly recommended this album, it has no waste!

I send my greetings and wishes for a reunion with this excellent salsa singer: Hermenegildo Olivera, or Herman Olivera. Born in Newark, New Jersey, the son of Puerto Rican parents and from an early age linked to Latin music. In the 70s, in the middle of the salsa boom, Herman began his love of singing by listening to the interpretations of Chamaco Ramírez, Héctor Lavoe, Cheo Feliciano and Marvin Santiago, among others. These vocalists were primarily his source of inspiration. When he was just 15 years old, Herman began his career as a salsa interpreter with an orchestra called La Justicia.

Later he was part of the band La Sónica, where he met his friend and trombonist Jimmy Bosch. After this he spent time with the Caramelo orchestra to later take the most important leap in his career by being part of the Conjunto Libre in 1978, where he left his voice reflected for the first time in the Incredible LP of 1981 under the direction of percussionist Manolo Oquendo and bassist Andy González, where he stands out with the theme Decídete.

In 1990, he was invited to record on the album Salsa Sudada, from the Valdesa Records label of Víctor Raúl Sánchez “Patillas” and with the musical direction of Isidro Infante, sharing vocalization with Mario Muñoz “Papaíto”, Adalberto Santiago, Eladio Peguero “Yayo El Indio” and Pablo Villanueva Branda “Melcochita”; in this work he interprets the songs La Aguja and a tribute to the city of Cali called Valle Plateado de Salsa. Later, it launched an independent project called Herman Olivera y La Exclusiva. Chequea la Mercancía.

Produced by Fernando Pastrana where the song Me Extraña Araña is one of the most outstanding. For 1997 he participates in the CD of the band Rikoson All Stars, called Evoluciones del Son, where he stands out very well in the romantic theme Aquella Noche. In 1998 he was requested by the piano teacher Eddie Palmieri and together with the vocalist Wichy Camacho they recorded the album El Rumbero del Piano, where he stands out as a singer on the songs Malagueña alerosa and Oiga mi Guaguancó.

That same year he was invited to the recording studios by the trombonist Jimmy Bosch and they released the album titled Soneando Trombón, which contains the hit Otra Oportunidad. Who plays a duet with Frankie Vázquez. On this CD also appears the song Descargarana. That same duo, Olivera and Bosch, meet the following year (1999) and produce Salsa Dura, where Herman shines performing the full Impacto Tendremos. The album also features the participation of singers Frankie “Nene” Morales and Frankie Vázquez. Parallel to this album, the RMM label launches a live CD and DVD titled Eddie Palmieri & Friend’s, where Herman looks excellent in the number Palo pa ’Rumba.

The invitation to tune in to the new Fm / Internet radio station on Live365.com continues: Salsagallery. Good music, interviews with the artists and much more… now with the participation of Felix Villalobos who joins Salsagallery Radio with a segment in which we will be talking about Music.

At the Spanish Harlem Salsa Gallery Museum we are happy to say that we are gradually returning to our activities and we will be opening the gallery sporadically. We do not stop, we continue to work for our music and we will always keep you informed through our social networks. We hope to have more news shortly and that we can return to normal soon.

Two radio programs of the salsa movement in California

Introduction

After the entire journey, the cultural salsa movement in the state of California is well established, which includes a good number of media outlets that focus on this and other Latin music genres. In this article, we are going to talk a little about two very important radio shows in Los Angeles, which play a very important role in the spread of salsa and its greatest exponents today.

They are the radio shows ”Alma Del Barrio” and ”Canto Tropical”, whose work has provided an immense contribution to the world of music and gained a huge audience both in Los Angeles and in the rest of the world.

Alma Del Barrio

In the autumn of 1973, what would become one of the most important Latin radio shows in Los Angeles started to go on the air, which is known as ”Alma Del Barrio” to this day and its main founders were Enrique Soto and Raul Villa, who were still university students at the time. What Raul and Enrique were looking for with this show was to educate the audience musically speaking and ensure that listeners to learn much more about their favorite artists.

A key part of this show is to interview the greatest exponents of the salsa genre and some of these have been Celia Cruz, Chucho Valdes, Manny Oquendo, Tito Puente, Roberto Roena and many more. Thanks to these conversations, fans of these artists have managed to learn more about their favorite artists and their future projects.

From the day of its founding, the show has been broadcast through the radio waves of KXLU, which is one of the largest radio stations in Los Angeles and offers all kinds of variety and musical genres in its programming.

Host Eddie López and Venezuelan Latin music bandleader Rudy Regalado

Canto Tropical

”Canto Tropical” is a radio show created with the firm intention of serving as a bridge to unite generations, cultures and countries that appear to not have anything to do with each other. The main musical genres on which the programming is based are salsa, Latin jazz, merengue, Afro-Cuban rhythms, among others. The music comes from all over the world, but most of the material comes from South and Central America and the Caribbean.

In addition to being always aware of the latest Latin music, hosts Kathy Diaz and Hector Resendez always make sure to get the best interviews with the most famous local and foreign artists so that their fans can get to know them better both personally and professionally. Likewise, listeners have the possibility to participate in contests and sweeptakes to win free tickets to concerts and events that are of their interest.

One of the requirements to be met by the show is to always invite local artists and singers to help them promote their music, new albums and concerts. In this way, the audience is aware of what local talent is currently doing. In fact, there are many figures who are still thankful for the exposure given the program, thanks to which they have achieved the popularity they were seeking.

Another detail that cannot be overlooked is that several social and community organizations have publicly thanked the show for its voluntary work and its hosts Kathy and Hector, who have even written for major publications such as Hispanic, Bilboard Magazine CASHBOX, among others.

Alma Del Barrio’s logo

Santa La Salsera and Diva of Mexico with her unique voice and style will continue to conquer us all

Originally from Boca Mar, in the beautiful port of Acapulco, Mexico.

From a musical family lineage, from the age of 3 she began her interest in the artistic medium; despite this her parents did not agree that she should dedicate herself to this career, but motivated by the musical taste of her mother she was inspired by great divas of the genre such as Mrs. Celia Cruz, La Lupe, Celeste Mendoza, Mercedita Valdes and Omara Portuondo.

Originaria de la Boca Mar, en el bello Puerto de Acapulco, Gro. México

She alternated with the Cuban actor and singer Zamorita, who invited her to sing solo in the well-known ECO Program and from there encouraged her to sing tropical music, since it was more in line with her image and voice; Later she got a job at the emblematic Blanquita Theater where she alternated with the legendary Sonora Santanera of Carlos Colorado, where she had the opportunity to compete against representatives of several Latin American countries in the international program “Sábado Gigante” with Don Francisco, in the section known as “Tropicalísimo” winning first place shared with Venezuela and thanks to her triumph she was discovered by the Director of Radio Tropical in Mexico, Mr. Manuel Durán, who recommended her to the Vice President of Musivisa, Mr. José Manuel Presa.

The Company was interested in her and from then on Santa signed a contract with Fonovisa Tropical. La Acapulqueña recorded her first production in Mexico City, titled “No me Provoques”, which was presented on August 15, 1994 at the Salón Verde y Oro of XEW Radio.

Verde y Oro of XEW Radio in Mexico City. “No me Provoques” reached the top of the charts with songs such as: “Corazón de Acero”, “Amor Pasión y Locura” and “Rey de mi Habitación”.

The second production “Lo Quiero a Morir” was recorded in Puerto Rico (in the then Gran Combo studio) for its internationalization, the song of the same name, was placed in the first place of popularity in the island itself, some countries of Central America and the United States of America.

The third production “Santa la Fiera” was recorded in the city of Miami, under the label On Top Records and produced by the renowned composer Victor Daniel, author of “La Vida es un Carnaval” with songs of more varied genre such as: “No vale la pena llorar”, “Tú eres hielo” and “Soy demasiado Mujer”.

After an absence, Santa resumed his career in 2012, with his fourth production “Yo soy santa para ti”, from which he managed to three singles “No tengas miedo”, “Sólo mírame” and “Como agua entre las manos”.

Santa has had the opportunity to participate in numerous television programs, as well as massive festivals, to mention a few: opening of the “Festival Boca del Río Veracruz, 1995” “Los Maestros de la Salsa 1996” (in Mexico City) “La Convención de Radio y Música 1996” (in Puerto Rico), “Festival 5 de Mayo 1997” (in Chicago), “Fiesta Mexicana de Raisin y Milwakee”, “Teletón Internacional de Chicago”, “Viva Chicago y Teletón de Honduras”.

Nino Segarra y Santa La Salsera y Diva de México

As well as international television programs such as “En Vivo”, “Hoy con Daniela, Zambombazo, Pácetelas”:, “Un Nuevo Día” and “Siempre en Domingo”, “Dr. Simi”, who dedicated a special to him, to mention a few”.

He has also had the opportunity to perform with great figures of his genre, such as: Tito Puente (who was his godfather), Celia Cruz, Jerry Rivera, Gilberto Santa Rosa, Grupo Niche, Eddie Santiago, Cheo Feliciano, Rey Ruiz, Los Hermanos Rosario, La Ponceña, El Gran Combo de Puerto Rico, Luis Enrique, among many others. In 2012 she resumes her career after an absence, she returns with her production “Yo soy santa para ti” placing herself in the taste of the genre lovers with songs like “Sólo mírame” “No tengas miedo” “Arrepentida”.

In 2013 she released the single “Llorarás” from her production “Yo soy como soy”, which includes unpublished songs, under the direction of the Veracruz producer and arranger Xavier Reyes.

Most of the songs were recorded in Mexico City, with the exception of “No quiero más mentiras” in New York, and “Mío primero” in Puerto Rico” with musicians of international stature. It includes two duets “Amiga” with Frakie Ruiz Jr. and “Cosas del amor” with Ariana Dao as well as the covers “Bidi, bidi, bom, bom” and “Si una vez” as a tribute to Selena Quintanilla.

After his tour he took a short break from music to participate in a short theater production dedicated to the “divo de Juárez” Juan Gabriel, called “Ya lo sé que tú te vas”, which he enjoyed very much in his acting career.

In addition, she received awards in her country such as the AMS AWARD for best female Salsera and the “Candilejas de oro” for her career.

She also participated as a host in the magazine show “Reventón musical”.

In 2018 she was invited to participate in the project “Divas de la salsa”, which took place in New York City representing Mexico and sharing the stage with various divas of the genre from other countries.

In May 2019, she toured Canada for 3 months, leaving her mark and in the last quarter of the same year, she travels to Colombia to continue expanding in the international market.

Her salsa version of “Si una vez” gives her the surprise to be placed naturally in the taste of the Colombian public and, as a result, the doors are opened to participate in events of the Feria de Cali alternating with the most important figures of the genre; she also participated as a special guest to sing in the tribute made to the master Gilberto Santa Rosa.

Once again Santa had the opportunity to leave her country high and show that Mexico also has and makes its good “molcajete salsa” as she calls it, inspired by these joyful Caribbean countries.

Back in Mexico, Santa started her online entertainment program “Santa con Ton y Son” with Raul Silva “El Titan de la Salsa” as her partner, which lasted only a short time on the air, due to some commitments she had to fulfill in the U.S. that were postponed because of the COVID pandemic; However, in the meantime Santa dedicated himself to write some songs that reflect feelings generated from that global chaos, such as “Chao Chao” which he recorded in Mexico City in December of 2021 as a duet with Ricardo Amador, accompanied by La Internacional Orquesta Controversia, of which a live video was recorded with great acceptance.

Santa Salsera y Diva de México con su voz y estilo único seguirá conquistándonos a todos

In addition to new duets and surprises that he is preparing in 2022 for the pleasure of the dancers.

Surely with his voice and unique style, coupled with his charisma and stage presence, Santa will continue to conquer us all.

Enlace Externo: Santa Salsera and Diva of Mexico

You can read: Irakere was a Cuban group that developed an important work in Cuban popular music and Latin Jazz under the direction of Chucho Valdés

International Salsa Magazine showcases important facts about Héctor Lavoe

(Héctor Juan Pérez Martínez; Ponce, 1946 – New York, 1993) Puerto Rican singer and composer, considered one of the best interpreters of Caribbean music of all time and a pioneer in the introduction of New York salsa in the early 1970s.

He was part of the legendary orchestra of trombonist Willie Colón and was known by the nickname of El Cantante de los Cantantes.

-.Héctor Juan Pérez Martínez was born on September 30, 1946 in Ponce, Puerto Rico. His parents Luis and Francisca are musicians who, from song to song, manage to support a large family of several children.

-. In the year of Hector’s birth, the singers who would influence him are much older: Daniel Santos is 30 years old; Ismael Rivera, better known as “Maelo”, is 15; and Jose “Cheo” Feliciano is eleven.

-. At the age of three, he suffers his first loss: the death of Francisca Martínez, his mother.

-. Juan Morel Campos is a music academy where his father enrolls him. Héctor begins to learn classical music, but he quickly decides to learn what is played in the streets. Jesús Sánchez Erazo, better known as “Chuito el de Bayamón”, is his first idol.

-. Sings the song Campanitas de cristal, a bolero composed by Rafael Hernández Marín, at a school party.

-. In the early sixties, he forms with friends, including Papo Luca, a group that performs boleros and salsas. He earns 18 dollars a night and his talent seduces the people of Ponce. He is invited to sing on television programs. Musicians Felipe Rodríguez and Tito Lara give him a promising future.

-. At the age of 17, being recognized in his native Ponce, he travels to New York. His family does not agree with his departure. In the city he is greeted by the ghost of the death of a brother, who was supposedly a drug addict. He stays in the apartment of Priscila, one of his older sisters.

Before joining the Fania All Stars for the first time, a group directed by the Dominican Johnny Pacheco, he was part of bands such as Orquesta Nueva York and Alegre All Stars.

-. In 1966, at the age of 21, he sings alongside Pete Rodríguez, Adalberto Santiago, Tito Puente, Richie Ray, among other artists, in the incipient Fania All Stars. He meets Willie Colón, an American musician with Puerto Rican parents. “We both knew the world in the Bronx neighborhood. I learned to speak Spanish with Hector, although at first I understood what he was saying. I remember he had a brilliant sense of humor and was a great imitator of singers,” said Colón in an interview.

-. In 1967, he achieved fame with his first album with Willie Colón. It is a mixture of genres such as guaracha, plena and guaguancó, and is entitled El Malo. The album is a tribute to the slum culture of the United States and Latin America.

-. He tries to work as a painter, but his sister won’t allow it. After two weeks, he attends a musical rehearsal with his backing vocalist friend Roberto Garcia. Hector takes the microphone and makes the orchestra directors fall in love with him.

-. At the beginning of 1968 he meets Carmen, a follower he meets at a concert. On October 30 of that year Jose Alberto, his first son, is born.

-. After the birth of Jose Alberto, he has his second son with Nilda Román, another follower. With her, who is nicknamed “La Puchi”, he finally marries and stays in an apartment in Queens. Héctor Junior is the name of his second son.

-. At the end of the sixties he becomes addicted to drugs. In more than one stage he leaves the audience in a daze.

-. In 1971 he is called again to record, together with other stars, Fania All Stars at the Cheetah. This combo featured Cheo Feliciano, Richie Ray, Ismael Miranda, Celia Cruz and the young Rubén Blades. In 1973, the group filled the Yankee Stadium bleachers. Anacaona, Quítate tú and Ahora vengo yo are some of their hits.

-. With Willie Colón, he recorded more than 18 albums between 1967 and 1973. Thousands of reissues of Asalto navideño, El Juicio and Lo Mato were made. Che che colé, Ausencia, Calle luna calle sol, Todo tiene su final are the most requested songs by the Latin American public.

(H3) -. Willie Colón dissolves the duet in 1974. However, both continue to work. Lavoe’s talent continues despite his excesses and the author of Talento de televisión knows it well.

-. In 1975 he releases La voz, his first solo album. This incursion is interpreted as a second wind in his career. So much is his energy to continue that he releases eight more albums. De ti depende (1976) is a collection of boleros and Comedia (1978) breaks sales with the song El cantante, written by Rubén Blades. This work was also produced by Willie Colón, who that year teamed up with Blades to record Siembra, the best-selling salsa album.

-. His interpretation of El cantante helps to build the nickname “El cantante de los cantantes” (The singer of the singers).

-. He performs at the Coliseo Evangelista Mora in Cali in 1977. This concert was attended by the writer Andrés Caicedo, who managed to take a picture with Lavoe in the dressing room. Months later, the author of ¡Qué viva la música! committed suicide with an overdose of barbiturates.

-. As a result of a strong depression, Lavoe is interned in a mental sanatorium in the United States in 1977. His heroin addiction, which he had begun to suffer at the end of the sixties, is not only known by those close to him but also by his fans. “He paid a lot of attention to me and, when he was in trouble, he would call me”, confessed singer Ismael Miranda in an interview.

-. Lives in Cali between November 1982 and March 1983 at the Hotel Aristi. He is a regular singer at the Juan Pachanga discotheque, owned by Larry Landa, a concert organizer. In the capital of the Valley it is said that Lavoe takes drugs during the day and tries to sing at night.

Hector Lavoe el Cantante de los Cantantes

In February 1987, due to a fire, he jumps out of his apartment in Queens. At the same time, in Puerto Rico, his mother-in-law is stabbed to death.

-. On May 7, 1987, his son Hector is hit by a stray bullet. “That death broke his heart,” said Tito Nieves in an interview. “At that moment Héctor Lavoe’s soul dies”.

-. He is diagnosed with AIDS in 1988. Those who visit him in the hospital maintain that he does not lose his sense of humor nor his desire to return to the stage.

-. In Bayamón, Puerto Rico, he sings Mi Gente in a patron saint festival. But his presentation is sabotaged by one of the organizers who supposedly owes him money; in the middle of the song the lights are turned off and Lavoe is left without sound to continue.

-. In 1988, he throws himself from the ninth floor of a hotel in San Juan. He survives to continue fighting the battle. He sings on a Bronx street in 1989. His physical deterioration is a reflection of his state of mind. Lavoe is a ghost of his former self.

-. Tito Nieves is one of his friends who accompanies him in his difficult days. Lavoe depended on other people to live. A thrombosis paralyzes part of his body.

-. In March 1993, pushed by his record company, he makes his last presentation in New Jersey. He sings with Roberto Roena’s orchestra. Maestro Roena is not able to play in front of the “Singer of singers”. “It was too much to put him on stage”, he said indignantly.

-. At the age of 46 he dies of a cardiac arrest, on June 29, 1993, in New York. “He came into the world to enjoy it and suffer it. Although he was not happy, he made many people happy,” said his sister Priscila.

-. He is buried in Puerto Rico. He is accompanied by a horde of followers. The presence of his friend Ismael Miranda stands out, who bids him farewell saying: “He is not here with us, but his music continues”.

-. In 2007, El cantante, a movie inspired by his life, was released. It stars Marc Anthony and Jennifer Lopez.

-. Currently there are two monuments in his honor. One in his native Ponce, Puerto Rico, and another in Callao, Peru.

Héctor Lavoe

You can read: Génesis of Salsa, its essence, characteristics, rhythm, history and expansión

Miguel “Angá” Díaz the percussionist who made his name in the ranks of Cuba’s legendary and enigmatic Irakere group

Miguel “Angá” Díaz (1961-2006) was a valuable and prolific Cuban percussionist. With his explosive solos and the creation of five conga toques, “Angá” was widely acclaimed as one of the world’s great congueros.

One of the mainstays of Afro-Cuban rhythm in recent times, Angá played with a multitude of jazz stars, from Chucho Valdés, Chick Corea or Steve Coleman, to Roy Hargrove, Minino Garay, Chano Domínguez and Herbie Hancock, among others.

The claim that he was one of the best percussionists in the world is backed up by the Grammy awards he won, his participation in such important projects as Buena Vista Social Club and the Afro-Cuban All Stars, and his status as sideman of geniuses like Tito Puente, Herbie Hancock, Carlos Santana or Danilo Pérez, as well as his membership in legendary groups like Irakere, according to Más i Más, the organizer of his concerts in Barcelona.

Miguel "Angá" Díaz el percusionista que se dio a conocer en las filas del legendario y enigmático grupo Irakere de Cuba — Miguel “Angá” Díaz el percusionista que se dio a conocer en las filas del legendario y enigmático grupo Irakere de Cuba

Father of three daughters – the eldest living in Cuba and the two younger ones in Paris – Angá never stopped searching for new forms of musical expression, experimenting with the fusion of different styles, such as jazz, African sounds, rock and hip-hop.

He was committed to the development of the conga, breaking the traditional barriers of percussion, to introduce them into classic Latin rhythms while preserving their distinctly Cuban roots.

He played with several Cuban artists, including Irakere, Afro-Cuban All Stars, Buena Vista Social Club, Omar Sosa, Omara Portuondo, Tata Güines, Rubén González and Orishas.

At that time he recorded and toured frequently with international musicians such as Steve Coleman, Roy Hargrove, Baba Sissoko, Ry Cooder, Pascal Coulon, Mezzadri Malik, Montgomery Buddy, Pascal Coulon and John Patitucci. Angá’s musical journey was a personal quest to investigate and create new sounds and rhythmic fusions.

More than just an artist, Angá demonstrated his commitment to the development of his instrument, teaching master classes at various schools and universities in North America and throughout Europe.

For Paris-based Argentine percussionist Minino Garay.

“He is indisputably one of the great percussionists of his generation; the greatest of all. His death causes me enormous sadness, as if it were a story that did not end,” lamented Garay, who will not attend the funeral this Friday, due to the fact that on that day he will give a concert in Vance, in the south of France. “I will certainly dedicate it to him,” he added.

Miguel Angá Díaz (1961-2006) fue un valioso y prolífico percusionista cubano

Angá Díaz received his formal education at the Escuela Nacional de Arte in Havana, Cuba, and after joining the Latin jazz groups Opus 13 and Irakere, where he perfected his conga playing technique, he moved to Europe, where he devoted himself to exploring the fusion of styles, bringing Cuban music closer to other musics and thoroughly investigating the relationship between Afro-Cuban polyrhythms and technology.

In the summer of 2005, Angá released his first solo album EChu Mingua, which the musician himself described as “a musical religious mass. Spiritual music is when the spirits are invoked to come down to earth, inviting them to a party or to talk to them”, and that is “the whole concept of the album”.

Transgressor of conventions, Angá emerged as an independent, free and committed musician with a wide variety of projects, from experimental jazz with Steve Coleman and Roy Hargrove, and hip-hop with the Orishas, to his participation in Omar Sosa’s tours, in addition to participating in numerous alternative projects with musicians from all over the world.

Angá’s musical trajectory was a tireless search, whose main purpose was to explore and create new sounds, as well as rhythmic fusions.

Source: jornada.com.mx

Miguel “Angá” Díaz

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