Search Results for: Tony Vega

Salsa en el Mayan
FRI SEP 10 2021 AT 09:00 PM TO SAT SEP 11 2021 AT 02:00 AM
Los Angeles, California | Los Angeles

Tickets
USD 45

Details

Tony Vega
Vlounge Bar and Night Club, Los Angeles (LA), CA, US

Venue
Vlounge Bar and Night Club
6101 Reseda Boulevard
91335
Los Angeles (LA), CA, US

Additional details
Price: US $100.00
Doors open: 21:00

3.- La Clave Salsa Club

Salsa Bachata Group Classes Discounts
Group Classes at La Clave every Thursday, 11502 Ventura Blvd Studio City

Monthly Pass Discounted $50.00 per 8 classes, Includes the Dancing after. Classes: Salsa 8pm / Bachata or Chachacha 8:50pm

Available at The Club on Thursdays!

San Diego

4.- Sevilla Nightclub of San Diego

Bachata Tuesdays | Sevilla Nightclub San Diego

BACHATA NIGHTS

DJ HUSH IN THE MIX

DOORS OPEN 8 PM

BACHATA CLASS

PART ONE 8.15PM

PART TWO 9.15

NIGHT ENDS 2 AM

353 5TH AVE | GASLAMP QUARTER

INFO AND RESERVATIONS 619.245.1138

TAUGHT BY INDIGO ENTERPRISE

COVER CHARGE $15

GUEST LIST BEFORE 10 PM ENTRANCE DISCOUNTED $10

www.sdbachata.com // www.sevillanightclub.com

San Francisco

5.- The Cigar Bar & Grill

Bachata Sundays – at CIGAR BARMonthly Bachata Sunday at Cigar Bar – every 1st Sunday!
About this Event
Inessence presents Bachata Sundays: Bachata & salsa class, social dancing, food & drinks. This party will be once a month (1st Sunday), with the next one happening on September 4th.NEW LOCATION: the San Francisco famous Cigar Bar. It will be a night filled with bachata, salsa, y más. Come end your weekend dancing the night away! Smoke-free on Sundays.Indoor dancing & outdoor patio dancing.PLEASE SUPPORT THE BAR & KITCHEN so we can keep this beautiful venueTime:
*Doors open at 6:45pm* Salsa Class (beginner friendly): 7pm – 8pm

*Bachata Class (beginner friendly): 8pm – 9pm

*Social dancing: 9pm – 12:45am

Full bar / 2 Dance Floors / 21+

Tickets:
We highly encourage purchasing your tickets in advance!

$15 online presale (ends Sunday at 4:30pm 9/4)

$25 at the door

(NO refunds)

Location:
Cigar Bar & Grill, 850 Montgomery St. San Francisco, California

For more info:
www.inessencedance.com

@inessencedanceco

6.- El Valenciano

Latin ednesdays at El Valenciano

Latin Wednesdays at El Valenciano SF! Every Wednesday evening in the heart of SF’s Mission District we offer Bachata and Salsa Lessons at 8 PM followed by dancing at 9 PM! Full Kitchen and Bar serves delicious meals and cocktails… Pre-Sale Tickets only $12 via Venmo and $15 at the door.
Spring/Summer Special: $10 after 10 PM
Venmo ID: Gabriel-Romero-18
Code: 9190

Long Beach

7.-  PCH Club

Dance classes every Thursday

8PM BACHATA
8:45PM SALSA
9:30PM DANCING TILL CLOSE!

Oakland

8.-  Yoshi’s

JUAN ESCOVEDO ALL STARS

SEPTEMBER 8, 2022
DOORS: 7:30 PM / SHOW: 8:00 PM

BUY TICKETS
$26-$64

SEPTEMBER 8, 2022
DOORS: 9:45 PM / SHOW: 10:00 PM

BUY TICKETS
$26

Juan Escovedo has released his first solo CD, THE J, on November 8, 2021, at his official record release party with two sold-out shows in Oakland. This CD elevates your soul with a masterfully crafted sound and rhythm meticulously created with an orchestra of seasoned sound that promises to take your breath away. Angel, the first single, features singer-songwriter El DeBarge with Martin Kember from Color Me Badd. Raphael Saadiq plays bass on two songs, Eddie M plays saxophone on two songs, and Andy Fargas of Santana sings on another piece. The video Angel was released on December 1!

Juan has toured, performed, and recorded with many artists, including Prince, Tony Toni Tone, Miguel, El Chicano, Con Funk Shun, Patti LaBelle, Amerie, Chingy, Jody Watley, Lou Bega, MC Hammer, Lionel Richie, En Vogue, El DeBarge, Freddie Hubbard, Barry White, Herbie Hancock, Cyndi Lauper, Teri Lynn Carrington, Bobby McFerrin, Tito Puente, Cheryl Lynn, Raphael Saadiq, Bobby Womack, his sister Sheila E., and, still, his father, Pete Escovedo. Juan tours, writes, and records as a solo artist with his father’s Latin Jazz Orchestra and The E Family: his father, his brother, Peter Michael Escovedo, and his sister Sheila E. Produced and arranged by Peter Michael Escovedo, The E Family’s latest CD, Rhythm of the Night, is a collection of nine “Old School” Soul & R&B hits, re-arranged and transformed into an explosion of Latin Jazz articulated through a fourteen-piece Latin Jazz Orchestra. The album features guest vocalists Peter Michael, Simon Russel, Sy Smith, Sheila E., Peter Michael, and Debi, as well as Escovedo’s great grandchildren.

Costa Mesa

9.- Sevilla Nightclub of Costa Mesa

Bachata Sundays @Sevilla In Oc
Learn & Dance Bachata With The Best Dancers & Teachers In Orange County!

About this Event

We Invite You To Our New Venue For Bachata & A Sprinkle Of Salsa At Sevilla Night Club In OC.

Don’t Know How To Dance Bachata, Thats OK! We Offer An Amazing Paid Bachata Intro Class With Professional Dance Instructors.

Doors Open At 430pm With A Intro-2-Bachata Class. Then We Have A Fun Open Level Bachata Class At 5:30pm. No Partner Or Experience Needed! $10 For One Class or $15 For Both. (Pay At The Event)

Music Starts at 530pm Till 9pm With DJ Aragon & DJ Zonik

Free Cover For Dancing (Class Not Included)

Food & Bar All Day | Free Safe Parking. Dancing Till 9pm | 21 & Over Night

Sevilla | 1870 Harbor Blvd, Costa Mesa Ca 92627

Find Us On Instagram!

https://instagram.com/cielodanceevents?utm_medium=copy_link

Alhambra

10.- The Granada LA

FRIDAY SEPTEMBER 2ND
Salsa Room with DJ MORENO & DJ PICOSO
Bachata Room with DJ KENNY
Reggaeton/Hiphop on patio with DJ MIRO & DJ SMALZ
Group Dance Classes:
8:30pm Salsa 1 with Kayla & Rosanna
8:30pm Salsa 2 with Hector & Jade
9:30pm Bachata with Hector
(Prepaid $12 per class or $15 at door)

Mountain View

11.- Alberto’s Night Club

Hot Salsa Fridays With Pantea – Alberto’S Night Club

HOT SALSA FRIDAYS EVERY FRIDAY with Pantea Salsa Lessons All Levels Doors open 8:00 pm 8:30 pm Beginner 9:30 pm Intermediate 10:15 pm Social Dancing No Partner Necessary DJ SayNoMore 21 and Up. A cool bar lounge located in Mountain View with a great instructor and chill atmosphere. Plenty of seating, a full bar, and live bands of Friday nights. Music is a mix of salsa and bachata, with a sprinkling of cha cha and merrengue. Established in 1992, Alberto’s quickly became one of the best nightspots in the bay area. Lore has an unknown musician at the time, Marc Anthony, once played at the club. Alberto’s continues to be the goto place for Salsa, Bachata, dancing and Latin music. It caters to a diverse audience who come to hear and learn musical styles from salsa to tango.

INFO:
When:September 2 @ 7:15pm – 9pm
Where:Alberto’s Night Club, 736 W Dana St., Mountain View,
Price:$10

Richmond

12.- Allegro

Salsa Bachata Social every Sunday

Latin Saturdays at Allegro. See flyer for details.

DETAILS
Date: September 3
Time: 8:00 pm – 1:00 am
VENUE
Allegro Ballroom 12012 San Pablo Avenue Richmond, CA 94805 United States Montclair.

13.-  The Canyon

**SATURDAY @ THE CANYON**
9:30-2AM SALSA CUMBIA BACHATA Y MAS with SUPER DJ RUMBERO! Great Food & Full Bar! Air Conditioning! Huge Dance Floor! Great Sound & Lighting! Plenty of Seating and Lots of Free Parking! $10 B410PM & $15 After, cash only! 5060 E N Montclair Plaza, upper level next to Macy’s (enter from Moreno St) 21+
**************************
**SABADO @ THE CANYON**
9:30-2AM CUMBIA SALSA BACHATA Y MAS con SUPER DJ RUMBERO! $10 antes de las 10PM y $15 despues, solo efectivo! 5060 E N Montclair Plaza, 2do piso lado de Macy’s (entrada por Moreno St) 21+

Commerce

14.-  Steven’s Steak House

Live Salsa Friday at Stevens Steak House

Live Music with Sangria every Friday at Stevens Steak House.

DETAILS
Date: September 2
Time: 8:00 pm – 2:00 am
VENUE
Stevens Steak and Seafood House Restaurant, 5332 Stevens Pl Commerce, CA 90040 United States

Los Gatos

15.-  Charley’s LG

SALSA NIGHT with Salsa Lesson, Live Salsa Band & Salsa DJ

Charley’s Bar LG is excited to bring you SALSA/LATIN NIGHTS (Salsa, Bachata, Reggaeton) every Thursday! Super fun night of dancing at the beautiful Charley’s in downtown Los Gatos!

DJ Luis Medina (of KPFA Radio) will be spinning the top Latin songs to keep the dance floor packed! The live salsa band CARLOS XAVIER (Does Mark Anthony & Originals) will take the stage at 9pm!

Lessons – all levels welcome from 8-9pm
No partner needed (we rotate)
Full Bar
Newly remodeled
Large, Gorgeous, Smooth, Hardwood Dance Floor
High Quality Sound Equipment
Air Conditioning
On-Site, Free, Lighted Front & Back Parking
Elevator Access
Outdoor Patio with Heaters
Fun & Friendly Atmosphere
Live Latin/Salsa Band & DJ
Playing a mix of salsa and bachata, with a sprinkling of Reggaeton & Cha Cha.
Doors open at 6pm
Happy Hour 6-8pm
Dance Lessons 8-9pm
Social Dancing 9pm-1am
$20 Cover charge
https://salsagoogle.com/tickets/
21+

Ortiz features Tony Vega, Milly Quezada, Johnny Rivera, Gerardo Rivas, Henry Santiago, Yturvides Vílchez, Néstor Torres, Charlie Sepúlveda and Antonio Luis Orta.

The new production of the Puerto Rican trumpeter Luis “Perico” Ortiz, Sigo entre amigos comes to us with the same energy as always.  We trust this is a foretaste of what is to come because as the genius of musical production, Julio Gunda Merced, says: “We must continue to create”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos.  The also masterful 1983 production featured Rafael Ithier, Rubén Blades, and Roberto Lugo, as well as the same Conjunto Quisqueya that for years dominated the danceable musical genre known as merengue.  In this new arrival, Sigo entre amigos, “Perico” continues with his trumpet and the rumba is back to form. In this renewed Sigo entre amigos, cut that gives title to this impeccable production, we find the voices of: Tony Vega, Milly Quezada, Johnny Rivera, and Gerardo Rivas. The legendary backing vocalist Henry Santiago also stands out, with the vocal power to which we are accustomed.

Beginning in the third minute of what has become the promotional cut, the unmistakable trumpet of the usual Luis “Perico” Ortiz stars in the notes of the arrangement until he joins in calm and saucy harmony the melodic wind collective formed by Yturvides Vilchez, Antonio Luis Orta, Jesus Rafael “Rafy” Torres, Eliut Cintrón, Randy Román, Miguel Rivera and Danny Fuentes in a masterful closing.

The second cut of this production, De mi para ti, features the crystalline voice of Johnny Rivera.  The song is a composition and arrangement by “Perico”.

The chorus that says: “Mi tributo es para ti, gracias al salón de baile” (My tribute is for you, thanks to the dance hall) enters in a tune that my ear associates to the style that stands out in the Orquesta Puertorriqueña del maestro Don Perignon.  I’m not saying that’s the way it is, I just think that’s what my ear appreciates.  I love it, by the way.

Johnny’s soneos bring nostalgia to the affair without abandoning the innovative touch of the arrangement.  This dichotomy of keeping the foundation constantly evolving has been very well achieved, highlighting New York as “the supreme soul of the art”.  Somewhat later in the song, the touting style that Johnny adds to “si tú quieres que yo cante, canto; y si tú quieres que yo baile, bailo” shows the malleability and mastery with which “Perico” manages to weave the classic with avant-garde expertise. Bravo!

After Johnny’s characteristic war cry in the fourth minute of the song, I recommend listening to what follows the “¡Vayaaa!” anticipating the forcefulness of Gadwin Vargas’ tumbadora. That, for the sake of highlighting my favorite special effect.

How can I say no, if it is a song inspired by the affection and respect that this avant-garde school obviously expresses for women.  It is about a gentleman who “sees lights” for a lady who approaches him cautiously and without haste.  Finally, the gentleman succeeds in making the lady fall in love and confesses to her that the wait was worth it, even though at first he did not even dare to ask her for a kiss.  In short, this composition by “Perico” himself is far from the lyrics that some fire-eating feminists condemned as misogynistic, in that past that this team of artists led by “Perico” were never part of.  In a way, this song repairs the damage caused by others.

In the vocal part, it distinguishes the duet between Gerardo Rivas, guest of this production, and “Perico” himself, who also interprets through the trumpet.

Musically, the arrangement of this song is easy to listen to, although I imagine that the arranger processed all the complication to make it simple for our inexperienced ears. The rhythmic changes within the salsa sound of this song have interesting transitions, the kind that make the dancer get active even if his dancing shoes are not well tied.

In the vocal part of Detente, the duet between Tony Vega, guest of this production, and “Perico” shines.  Detente lightens the speed compared to the rest of the songs in the production, so the dancer must be in good shape before trying to dance to it.  This fact shows us the versatility in the interpretative ability of Tony Vega whom we are used to hearing singing romantic and slower songs.  It is, without a doubt, refreshing to see how the performer’s horizons can be expanded by way of these artistic combinations of seemingly simple variations. Of course, a pioneer of these effects is “Perico” and this invention that I attribute to “Perico” is due to him having the necessary experience to achieve exceptional results with the usual performers.  At the 2 minutes and a half mark, the correspondence between the bass played by Jorge Rivera and the piano played by Carlos García; they reach a rhythmic transition, which makes this arrangement a remarkable one within the list of songs that compile this production.  Almost entering the fourth minute, we reach the social message that the song delivers to the listener as a chorus: “Persigue lo bueno…”.  The chorus and the pregones are framed within the tastiness of a trombone full of positivism.  The fifth minute gives way to the conversation between the trumpet of “Perico” and the voice of Tony Vega, affirming a message of love and truth.

Days after listening to the track, I can still hear Henry Santiago’s voice echoing, “chase the good…”

The intro of the track Solo tuya seré features “Perico’s” trumpet playing what appears to be a fragment of the Puerto Rican national anthem.  “Perico” demonstrates masterful mastery in the harmony of the aforementioned notes conjugating them with the vocal entrance of Milly Quezada.  The song’s lyrics are sweet and romantic with lots of melody and rhyme.  However, this does not limit the arrangement to a simple one.  On the contrary, it is one of those arrangements that conquers by its complexity and fluidity.

Before reaching the 2 minute mark, the leather beats come in, anticipating Milly’s proclamation, confirming in multiple ways the chorus that says: “solo tuyo siempre yo seré” (only yours I will always be).  The mambo goes on, while Milly continues to splash the feeling summarized in the confession she makes while singing in her characteristic color: “eres mi mejor canción, eres tú mi melodía” (you are my best song, you are my melody).  By 3:33, the arrangement returns to the undisputed sound of “Perico”.  This composition, also by “Perico” pays homage to patient love, good love that swears: “te amaré toda la vida” (I will love you all my life).  As you can see, it is possible to coordinate romance with a musical arrangement that is at once melodic, danceable and heavy.  Now, the question I have to ask myself is: Did “Perico”‘s return to his homeland after living in New York for about two decades inspire his pen? Is that the reason for the intro with the overlapping resemblance to the national anthem?  That is the question that leads me to: “Eres tú lo que soñé, eras tú mi fantasía” (You are what I dreamed of, you were my fantasy).

On Señores que se sepa, Henry Santiago’s unmistakable voice stands out again in the coros, backing up “Perico’s” vocal performance.  Shortly after 2:30 minutes, the trumpet leads the melodic development of the winds.  Well into the third minute, the association of bass and piano precede Jorge David Marcano’s timbal until the trombone and tumbadora begin to dominate by the fourth minute.  In the fifth minute, a trumpet-led mozambique takes over.  When the mozambique goes down, the piano seems to embrace the trumpet.  As can be seen, the development of the theme is one with modern overtones of undeniable Afro-descendence, without departing from the classic fundamental sound.

On Tres grandes amigos, Henry Santiago sings with his usual strength.  The melody benefits from a sound that I imagine was inspired by Puente, Rodríguez and Machito, since the saxophones stand out in that typical playfulness of the three Palladium greats.  It would seem that the composition and arrangement -both by “Perico”- are in tune with the upcoming reunion of those whom I affectionately call “Los herederos del Mambo” (The heirs of the Mambo).  I associate it, since on March 5, 2022 begins the reunion tour of Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. in the concert: The Big 3 Palladium Orchestra.  The reunion will be held at the Lehman Center for the Performing Arts in New York, under the concept called “The Big 3”; this time titled Palladium in the New Millennium.  On the other hand, on June 19, 2022, Tito Rodríguez, Jr. will be at the Centro de Bellas Artes de Puerto Rico performing as a tribute to “El Inolvidable”: his father, Tito Rodríguez.

Without wanting to compete with the theme performed live with the three timbaleros heirs of the Mambo: Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. backing the voices of Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román, I invite us to take a closer look at the presentation I am referring to, within the 6th Jazz Festival in Carolina, Puerto Rico.  The performance of this song closed the aforementioned festival and is on YouTube for the delight of those who could not make it there.  Click on the link, https://youtu.be/4jZLEnpaRCo you won’t regret it.  It gave me a more complete perspective of the song and its interpretation.  The arrangement of the song performed that night in Carolina is by Luis “Perico” Ortiz himself.  Highlights of the August 2010 performance included: Carolina Mayor José Carlos Aponte Dalmau, Mario Grillo, Tito Rodríguez, Jr., Tito Puente, Jr. and Luis “Perico” Ortiz.  On the vocal front, Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román stood out.  Of course, I can’t leave out Sammy Velez on baritone saxophone.

It is true that: “We are fortunate to have had three great teachers, three great friends…” and it is also true that Henry Santiago ate it. What a hurricane, that voice that sweeps!  Now what we have left is the appetite to enjoy this year’s concerts.  It’s coming, we are waiting for it.

In Yturvides & Perico, the characteristic speed of the other songs contained in the production is changed and the tempo of classic Jazz with the Latin touch that characterizes the master Luis “Perico” Ortiz stands out.  At minute 3:30, the arrangement is skipped for approximately thirty seconds to return to a soft minute of the undisputed Soñando con Puerto Rico.  The slow tempo is skipped again until the end of the song.  This arrangement is for connoisseurs only.  You know, those who know, know, and those who don’t, learn.  The last minute is pure trumpet accompanied by an orchestra that does not get in the way.  The percussion is complementary and sends the children to school.

As promised on the compact disc’s laminated cover, this song is a fusion of Osvaldo Farrés’ Tres palabras and Bobby Capó’s Soñando con Puerto Rico in a masterful arrangement by “Perico” that accommodates an exceptional performance by Yturvides Vílchez.  Simply exceptional.

In the song Warming Up, which closes this production, stand out:  Charlie Sepúlveda, Néstor Torres and Antonio Luis Orta.  The instrumental segment sounds like a big band, as it is.  The piano dominates and seems to direct the saxophones from the first minute, besides conversing in constant playfulness with the bongo played by Richard Carrasco.  The trumpets have a leading role entering and leaving in orderly shifts with the coros.  Distinguished among the coros is one of my favorite voices; not only for his vocal power but also because he can subtly balance that power with his unequaled melodic command.  That’s Henry Santiago, but that’s my preference.

Anyway, I love this production.  If you don’t have it, get it.  If you do, enjoy it.

Facebook: Luis Perico Ortiz

Article of Interest: Ray Barretto Giant Force y A Conguero’s Conguero

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico