Search Results for: Tito Rodríguez

Victor Perez

Latin America / Venezuela / Valencia

Victor Perez ( Dj/Musician )

From a very early age, I started listening to Salsa, tuning into radio airport (as many times as I could), the lake station in Valencia where you could listen to some Salsa.

Then I started collecting LP records, 45 records, cassettes to listen to the insane, Tito Rodríguez, Latin Dimension and in the year 74/75, of course Ismael Rivera, Estrellas de Fania

A lover of the rumba and for owning the records, in all the rumbas in the neighborhood that were organized they looked for me to place the music in the famous pick-ups.

As a result of that time I liked the environment more, I kept updating with the arrival of the CD, PC and until now the existing audio programs.

I have studied professional audio, radio operator, locution and oratory, and they always hire me to set music for public and private parties, generally in Maracay and Victoria.

Last year as an idea, dominating salsa website was created to organize, promote the Dj’s musicalizers of the region.

Jose Bello, The Salsa Tycoon

North America / USA / New York

Jose Manuel Bello Suazo, better known as José Bello “El Cantautor”, a Dominican artist of international stature with several awards and achievements worldwide.

Jose Bello, born on April 6 in the city of Santo Domingo, who from an early age showed a deep love for music, making his first performances in kindergarten and elementary school. As a teenager, he moved to New York where he met Carlos Castillo, a member of internationally known bands such as Machito y su Orquesta, Joe Cuba y su Sexteto, Tito Rodríguez y su Orquesta. From that moment on, Bello formalized his start in the world of music by forming “El Sexteto Latino” together with Carlos Castillo.

Baila que Baila is known as his first musical recording with maestro Julio Gutiérrez, after that he recorded four record productions with the owners of LA CHARANGA AMERICA. His first full-length album emerged in the 70’s, with the record company “Lo mejor records” with songs of his own inspiration. But, it was in his third record production, where he decides to add songs with a title in another language, entitled “Blue Bossa”

José Bello manages to start his own record label in partnership with Mr. Aldemar Barona, who titled it “B&B Records Presents José Bello”, containing compositions by both members. In the fifth record production, which was established as the owner Jose Bello, El Cantautor, where only the La Salsa Magnate’s own productions are found.

After that, it was decided to record the first DVD recorded live in the city of Medellin, Colombia, becoming known around the world.

In the last 10 years, José Bello has taken his music to all parts of the world, receiving great acceptance from the European, American and Latin American public. Sharing the stage with great personalities such as Celia Cruz, Rubén Blades, Gilberto Santa Rosa, Oscar D’Leon, Marc Anthony, Tito Nieves, among many more.

At International Salsa Magazine, we were able to chat with this incredibly talented artist.

Below is the interview:

How was your first presentation? Did you know after that that music would be your passion?

In the kindergarten of the La miraculous school they had parties and they had a stage where I sang constantly and even had choirs that accompanied me and also acted, since I can remember, my passion is music.

How did you and Carlos Castillo meet? Did you know about his career before?

I met Carlos Castillo, because my mom lived in the house next to him and she talked to Carlos’s mom about me and they both agreed to introduce me, I had no idea who he was, until I met him.

What inspired you to compose those songs?

The experience of life and the gift that I always knew I had to compose, at any time.

Tell us a little about Aldemar Barona, what year did you decide to start with the label?

My great friend Aldemar Barona always went to my presentations and when the contract ended with the best record, we decided to make our own record label in the late 80s, early 90s.

Was this performance during a tour? What album were you promoting? Where could that DVD be purchased?

Exclusive record. He hired me to make that DVD in the mid 90s and you could get it online, or at the Musical 90 record store in Jackson Hghts Queens New York

All these artists are well known worldwide and having been able to share stages with them speaks volumes about your incredible talent and career. Which of these artists would you say is your greatest inspiration or example?

As I said before, my inspiration is a divine gift, I love all my colleagues very much, I respect and admire them, some started before me, others are from my generation and others became famous after my love, and I respect music, They have moderated me as I am and have led me to feel fulfilled in what I do, blessed and immensely happy.

Where would you like to present yourself in the next opportunity?

I would like to personally take my art to some countries that I have not visited to this day, such as Mexico, Peru, Panama, Canada, Japan, Chile, and Argentina.

What comes next in the life of José Bello, El Cantautor?

Make my new recording, already as JOSE BELLO EL MAGNATE DE LA SALSA 40 ANIVERSARIO and finish negotiating my next tours, to Central Europe and South America.

Where does his nickname El Magnate de La Salsa come from?

On July 23, 2017, I married the designer Patricia González on the largest luxury yacht in New York called “Infinity”, around 2000 people and with two orchestras. Tito Nieve with his orchestra and my orchestra. The ceremony was on the high seas.

Jose Bello, Jose Bello, The Salsa Tycoon — Jose Bello, The Salsa Tycoon

When in Mexico they found out about my marriage, they wrote to congratulate me and told me “Now you are the salsa magnate” I was surprised and asked them why? and they told me “Only Arab Magnates get married on the high seas on a luxury yacht” I liked the idea.

I always hear that in music there are kings, princes, knights, but there are no tycoons and I think that because of the explanation of the Mexicans, I am the tycoon of salsa.

The legacy of El Palladium lives on, as demonstrated by ‘Mambo Fantasy’

The legacy On Saturday, January 18, 2025, the Tropicoro Club at the Fairmont El San Juan Hotel in Puerto Rico was decked out to celebrate the music of Tito Rodríguez; led by his heir, Tito Rodriguez Jr., and El Caballero de la Salsa: Gilbertito Santa Rosa on vocals and the characteristic marquee of “El Inolvidable”. The show was part of ‘Mambo Fantasy’, a duel between the legacy of Tito Puente and that of Tito Rodríguez, two of the Kings of mambo during the golden age of big bands.

Humberto Ramirez, Herman Olivera, Tito Rodriguez jr. y Gilberto SantaRosa en Mambo Fantasy

The dance concert featured the musical power of the big orchestras, responsible for placing Latin music among the favorites of the dancing public. It was a must remember that the history of what was the era of mambo was strengthened in the emblematic New York halls, among which “El Palladium” stood out. To do so, the dance corps of Tito Ortos and Tamara Livolsi was accompanied by the nonagenarian Mambo Mike, engaging in an energetic choreography that the trio executed to perfection.

The legacy of Tito Puente resonated under the musical direction of the trumpeter, arranger, composer and producer Humberto Ramírez, with Hermán Olivera and Michelle Brava as the singers in charge of interpreting Puente’s repertoire.

Michelle La Brava 'Mambo Fantasy' en Puerto Rico — Michelle La Brava ‘Mambo Fantasy’ en Puerto Rico

Rodríguez’s legacy was carried out by the union between the timbalero, arranger, composer, producer and orchestra director, heir to the musicality and the name of one of our greatest musical glories -Tito Rodríguez, Jr.- and one of the greatest stars of contemporary music -Gilberto Santa Rosa. The group was composed of: Gerardo Rivas on the tumbadoras, Pete Perignon on the bongos, Mako Pérez and Genaro “Ginno” Ramírez on the chorus, Luis Marín on the piano, Johnny Torres on the bass; Freddie Miranda, Josué Urbina, Saviel Cartagena and Francisco “Pacman” Cruz on the saxophones; Georgie Torres and Anthony “Nony” Rosado on the trombones; with Rolando Alejandro, Pedro Marcano, Kevin Ibáñez and Becky Zambrana on the trumpets. And since legacies are significant, it should not be overlooked that the three percussionists of this group are children of musicians.

Orquesta 'Mambo Fantasy' en Puerto Rico — Orquesta ‘Mambo Fantasy’ en Puerto Rico

The repertoire, which included “Mama Güela,” “A los Muchachos de Belén,” “Vuela la paloma,” the bolero “Me faltabas tú,” “Baranga,” “Bon sueno,” “Yambú,” “Avísale a mi contrario,” “El agua de Belén,” “Óyeme Antonia,” “Estoy como nunca,” and the surprising intervention of the tumbador singer Johnny Rivero, the bolero “Tómame ya,” “El que se fue,” and “Abarriba cumbiaremos,” made it clear that the musical complexity of the golden age of mambo remains alive. The Gentleman of Salsa gave a lecture on his expertise in the most Tito Rodríguez-like dance that has ever been seen and heard, imprinting his interpretive style on the songs of “El Inolvidable,” while demonstrating his mastery of the dance, sliding across the stage using Rodríguez’s best steps.

Herman Olivera 'Mambo Fantasy' en Puerto Rico — Herman Olivera ‘Mambo Fantasy’ en Puerto Rico

Evidently, the participation of El Caballero de la Salsa was inspired by the musical perfection of “El Inolvidable”, achieving an impeccable performance. Through the magic that Santa Rosa brought to the concert, Tito Rodríguez, Jr. managed to connect with the Puerto Rican public that follows his father’s music. For our part, we are grateful for the invitation of the work team responsible for the success of ‘Mambo Fantasy’, while we remain awaiting the next show that manages to bring together these greats of mambo.

Also Read: Bella Martinez, the irreverent Salsa writer

Federico Betancourt “Pioneer of Salsa in Venezuela”

Latin America / Venezuela / Carabobo

Jesús Federico Betancourt was born in the city of Valencia, Carabobo state, on March 22, 1940. He was always attracted to music from a very young age.

In his adolescence, he liked Cuban rhythms, being influenced by Sonora Matancera, Mon Rivera, Eddie Palmieri and Joe Cotto. Before entering the entertainment world, he works at the Bank of Venezuela.

He affirms that he has not carried out formal studies at the musical level, learning the necessary theory to be able to perform as an orchestra conductor, but without interest in interpreting any instrument, but with a well-tuned ear, which has allowed him to remain in the music business for decades. , in fact on certain occasions he is named as the King of the Güiro.

His career began when he entered the Los Selectos Orchestra, where they played songs by the Billos Caracas Boy’s and the Los Melodicos Orchestra, which were at their peak in the 1960s, all this in a particular way, said Orchestra did not go beyond that.

In 1965, Federico Betancourt decides to satisfy his artistic restlessness and founds a band called Federico y su Combo Latino. The members that made up this band were chosen from among the founder and together with Roberto Monserrat.

But it was not until the middle of 1966, when the twenty-six (26) year old undertook the recording of the LP that would make him famous forever. This record production entitled LLEGO LA SALSA, would mark an important stage in Venezuelan Salsa, because it was the first LP that made use of the word SALSA in the country.

Federico Betancourt himself recounts that the Venezuelan announcer Phidias Danilo Escalona had a Radio Program called LA HORA DE LA SALSA, EL SABOR Y EL BEMBÉ, where all the Cuban and Puerto Rican Caribbean rhythms that were fashionable at the time were placed, among those who highlighted La Sonora Matancera with Celia Cruz, Tito Puente, Joe Cuba, Tito Rodríguez among others, and who was the one who supported them the most in terms of recording the album.

The production was recorded under the Palacio label, and the LP was titled LLEGÓ LA SALSA, he affirms that the title was chosen without taking into account the importance that it would revert in the future, he also affirms that it was not the name that gave him success , the album was a “bump” in sales, since all the songs were the most requested at the time, using his words: “The album sold like hot cakes”.

The music lovers of the time requested it on specialized sites such as the LA SALSA album. Federico says: “The father of the word SALSA was Phidias Danilo Escalona, he used it for the first time in his radio program, and I, humbly, with the success of my LP, gave him the push for its mass use.”

Federico Betancourt - Photo — Federico Betancourt – Photo

In Venezuela, the word SALSA was welcomed by the public willingly, since it suggested a mixture of flavors, which was exactly what happened in the Phidias program, but at the level of rhythms. After the appearance of Federico’s album, all the shows that were performed at the level of Caribbean and Cuban rhythms, carried the name of SALSA.

It is important to name the musicians who took part in this historic production: The musicians are: Ali Rojas Bongo and Cencerro, Roberto Monserrat Music Director and Timbal, Pedro Medina Congas, Alfredo Arcas Trombone, César Pinto Trumpet, Enrique Iriarte Piano, Rafael Prado Bass, Carlín Rodríguez Singer and maracas, Dimas Pedroza Singer, Federico Betancourt Güiro and Director of the Orchestra. The musical arrangements were by the famous trumpeter Eduvigis Carrillo (RIP). Production themes:

Llego la Salsa CD - Federico su Combo Latino — Llego la Salsa CD – Federico su Combo Latino

1.- Cocolía

2.- Conmigo
3.- El Pachanguero

4.- Sancocho Caliente
5.- Guaguancó Manía

6.- Celosa

7.- Despierta Rumbero

8.- No Critiquen
9.- Saoco

10.- Baila Yemaya
11.- Café Y Pan

12.- Que Me Querías

After the success obtained with the record work, the time came for the first international outing, which was to Colombia, in 1969. It happened because the singer of Los Melodicos, Víctor Piñero, informed Betancourt that he was stuck in Cartagena and Barranquilla with the themes El Cobrador and Federico Boogaloo. After the information, the young musician went to the neighboring country and got a contract for the famous Reina del Mar parties, in Cartagena, on November 11, 1969.

The experience of the band was so good, that in 1970 they returned to visit the country. From then until our days Federico y su Combo continues to be an emblematic and legendary band in Venezuela, for this reason the WEB of the classy salsero SALSA BRAVA, offers its respects to such an important salsa figure.

Discography
1966	Llegó La Salsa	Palacio (LPS-6171)
1966	Salsa y Sabor	Palacio (LPS-6185)
1967	Más Salsa	Palacio (LPS-6205)
1967	Durísimo – Vol. 4	Palacio (LPS-6216)
1968	Federico Boogaloo	Palacio (LPS-6228)
1968	Psicodélico Con Salsa	Gilmar (LPG-110)
1969	Mejor Que Nunca	Gilmar (LPG-111)
1969	Vibración y Ritmo	Sonus (102-17080)
1970	Dos Sets	Velvet (LPV-1539)
1970	La Machaca	Velvet (LPV-1539)
1973	Federico Si Te Pone A Bailar	Palacio (LPS-6332)
1975	Derrape De Salsa	BASF (10.068)
1976	Siguelo Ahí…. a Lo Cortico	BASF (10.070)
1977	Ayer y Hoy	BASF (10.076)
1977	Esto Es Lo Mejor	Palacio (LPS-6372)
1978	Mis Exitos y Más	BASF (10.079)
1978	Sabor	Foca (LPF-10.037)
1979	Federico y Su Combo	Foca (LPF-10.120)
1979	Federico y Su Orq. – El Maestro	Discomoda (DCM-1128)
1980	Federico y Su Orq. con Memo Morales	Discomoda (DCM-1148)
1982	No Le Digan	Integra (PF-14.075)
1983	Nuevamente	Palacio (LPS-66.541)
1984	SaaaBroooSo!	Palacio (LPS-66.552)

Compilation
1996	Mis Exitos y Más…Vol.1	Sonograma
1996	Mis Exitos y Más…Vol.2	Sonograma
1996	Mis Exitos y Más…Vol.3	Sonograma
2005	El Pionero De La Salsa	Palacio
2008	Salsa De Oro	Gilmar

Louie Ramírez. The Hidden Talent of Salsa Ahead of its time

North America / USA / New York

Louie Ramírez.

Music often requires characters who are always behind the scenes and support the work of singers and performers with their talent, who are ultimately the ones who “put on their face” and become popular. Sometimes, however, these anonymous characters rise to fame in order to perform their own work and even become more popular than any popular singer.

In the case of Pop, this character is called Quincy Jones, of whom it is enough to say that he has been an arranger for Frank Sinatra and a producer for Michael Jackson. A nobody”. In the case of Salsa, these characters have been symbolized by Jones’ emulator, a guy named Louie Ramírez who has done everything with everyone.

One afternoon in 1994, Ramírez was driving his car down the highway that would take him to Variety Studios in New York. It was going to be a quick session since he only needed one song to complete his 20th album as conductor. Perhaps that was why he was nervous and that filled him with anxiety. Minutes later he couldn’t resist the feeling and had to pull over to the side of the car. He had not finished doing it when a cardiac arrest ended his life.

Louie Ramirez was a genius. The classic man to whom everyone turns for advice and solutions to their problems. It didn’t matter if they were young or old musicians. The fact was, Louie had the answer, and visiting him was like rubbing Aladdin’s lamp. That was a characteristic that always accompanied him, from that first recording “Conozca a Louie Ramírez” in 1963.

He was 20 years old at the time and had already stood out for composing some pachangas and arranging for Pete and Tito Rodríguez’s orchestras. The commentator Dick Sugar then presented it like this: Ramírez breaks the image of the director of a group that uses the talent of other composers and becomes a follower of a rhythm. No, Louie Ramírez is a creator in his genre.

That talent did not go unnoticed by the new Czar of Latin music in New York, Jerry Masucci, who hired him as a star for Fania Records and at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramírez was soon involved in work and was only able to record two albums during the sixties, “Good news” and “Alí Babá”.

On that last album appeared the hit that allowed him to be a famous artist, El Títere, a true Salsa classic. The theme was sung by Rudy Calzado, the third of the soneros that Louie had used without finding the ideal. That was a burden that accompanied him as a director during the seventies, when he used singers of the stature of Pete Bonet, Tito Allen, Jimmy Sabater, “Azuquita” Rodríguez, Adalberto Santiago, and even Rubén Blades.

It was with Blades, precisely, that he made an anthological album, “Louie Ramírez and his friends”, in which the song Paula C was included, with an arrangement of those that deserve -hats off-. By then, Ramírez was considered in New York as the most progressive arranger that Salsa had, thanks to the brilliant work done for the Fania All Stars. An excellent job had been the instrumental arrangement of Juan Pachanga, to be sung by Blades, of Canta Canta for a performance by Cheo Feliciano, and of the entire album “Algo nuevo” that Tito Rodríguez sang with Louie’s orchestra.

But the high point of Ramírez’s career came in 1980 when Joni Figueras, representative of the K-Tel International label, hired him to arrange the ballads Todo se derrumbó and Estar Enamorado de Manuel Alejandro. The album, which included these and other tracks, was released two years later under the title “Hot Night” and was recorded by Louie’s own orchestra.

Louie Ramírez - Salsa Progresiva — Louie Ramírez – Salsa Progresiva

This is how the Salsa-ballad or Salsa-romántica was born in a job that Ramírez continued until his death, making attempts at Latin Jazz from time to time, which he loved. That is why he recorded an album in tribute to Cal Tjader, where Louie was director, producer, composer and arranger, in addition to playing the timpani and his favorite instrument: the vibraphone.

Louie Ramírez was a genius in arranging, in a career where those of Guantanamera and Isadora stand out for Celia Cruz, El Guiro de Macorina for Johnny Pacheco and El Caminante for Roberto Torres. Apart from this, there are his works for the Alegre and the Cesta All Stars. Regarding this profile of Ramírez, the critic Eleazar López defined it very well:

Louie Ramírez - salsero — Louie Ramírez – salsero

It is not easy to arrange for a dance band, especially when it comes to a group that cultivates the hot tropical genre. Many musicians feel influenced by Jazz and the result of their orchestrations leaves a void in the dancer. Others arrange simple, but so simple that they repeat and copy themselves, and the result is tiresome music, without any degree of creativity: music that says nothing, that leaves nothing. Louie Ramírez has found the perfect balance… that’s why he always stays current.