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“Cuando se acaba el amor”, Stefany Castillo’s new theme song

“CUANDO SE ACABA EL AMOR”

Stefany Castillo – La Sonerita del Callao

Peru, one of the South American countries known for its variety and impressive ecosystems, overflowing landscapes, beautiful cities full of history, culture, traditions, beaches, fauna, flora… and, of course, its delicious and famous gastronomy.

This time we have Stefany Castillo, a Peruvian singer who was born and educated in the Barrio Estibadores del Callao, near Callao, a port city located in the constitutional province of Callao, in the center-west of Peru, is known for being the port of Callao, the largest and first maritime port in Peru, through which 90% of the import and export cargo of the Andean country moves.

The Buenos Aires musical influence would push her into the musical world and six years ago, trying her luck in some local groups and daring to sing on stage; Three years later, he developed his project, first in digital format which he called “La Sonerita del Callao” and then with the company surrounded by eleven musicians he formed an orchestra, known as “La Sonerita del Callao 4 Orquesta”.

Album of " La Sonerita del Callao " — Cuando se acaba el amor – Stefany Castillo

Currently Stefany Castillo has surrounded himself with a team of professionals and connoisseurs of the Afro-Caribbean, Antillean and Latin sound, and he has periodically been publishing successful singles that have allowed him to become a recognized name and place on local and international circuits. “Mal Hombre”, “You Desire” and “La Sonerita Llegó” are his musical letters of introduction to the salsa flock that have arrived thanks to the opportunity that radios and platforms around the world have given him.

Regarding the new cut in promotion of the title “When Love Ends”, he makes it known that it is from the signature of Eddie Villanueva, a chalaco (Callao, Peru) resident in Switzerland, Road Manager of the Mercadonegro Orchestra, representative of La Sonerita Del Callao and pleasant revelation in the composition. The arrangement of the song has been entrusted to the renowned Venezuelan trumpet musician, arranger and producer Oscar “Chucky” Codero who lives in Holland; And, to round off the task, the musicians listed below have been summoned to become the special musical framework for the characteristic and heartfelt performance of Stefany Castillo, La Sonerita Del Callao:

Author: Eddie Villanueva Chininín
Arrangement: Óscar “Chucky” Cordero
Lead Vocal: Stefany Castillo, La Sonerita Del Callao
Timbal, Bongo, Tumbadoras, Maracas, Giiro: Rodrigo Rodríguez
Bass: Dimitris Christopoulos
Trombones: Johan Alexis Escalante H.
Backing vocals: Robert “El Chamo” Marcano $ Rodrigo Rodríguez
Trumpets: Óscar “Chucky” Cordero
Piano: Óscar Iván Lozano (OILO)
Vocal Coach: Óscar Huaranga (Bambú Records, Lima – Peru)
Sound and Mix Engineer: José Mendoza
Mastering: 440 Studios By Fernando Álvarez (Madrid – Spain)
Recorded at: Go Studio (Zurich – Switzerland)
Musical Producer: Rodrigo Rodríguez Puerta
Executive Producer: Eddie Villanueva Chininín
APR: Eddie Villanueva and Rodrigo Rodriguez
General Coordination: Serafín Castillo
General Production: Eddie Villanueva

SWING LATINO PRODUCTIONS

If you want more contact information, access the following links below:

Fan Page:
https://www.facebook.com/LaSoneritaDelCallao
Instagram:
https://www.instagram.com/lasoneritadelcallao/
Twitter:
https://twitter.com/SoneritaLa
Phone (WhatsApp):
+51 917 027 251
Eddie Villanueva Chininin: Management more info:
Phone: +41 789732183

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Eddie Palmieri Memorable Career

Eddie Palmieri

There are not many musicians who try to step outside the industry’s pre-established mold and experiment, but those talented artists who dare to do so are often remembered. Some define him as a genius, others as a revolutionary, the truth is that it is evident that Eddie Palmieri’s style has always been ahead of his time. He is among those artists who preferred to do something different rather than simply adapt to the commercial trends that existed in the music industry in the 1960s, which is why he has always been considered an experimental and brilliant artist.

Born in New York, although with Puerto Rican parents, Eddie showed interest in music since he was just a kid. At the young age of 14, his talent did already lead him to create his first orchestra. Tropical music and jazz were special genres for Palmieri, so Palmieri showed a special interest in both. Despite starting out as a percussionist, he eventually showed more interest in the piano, and his natural talent was evident, so he decided to become a pianist. That was the beginning of a career that would be full of success.

His career began when he participated in the orchestras of Vicentico Valdés and Tito Rodríguez, where he gained experience that would later lead him to create his own band, one that would mark a crucial change in Palmieri’s personal and professional life, the name of the legendary band was “La perfecta” (The perfect one).

In 1962, la perfecta made their debut, adding trombones and trumpets to the sound of the flute and violins of the era, thus creating a fresh, and peculiar sound that people were starting to love. It is normal that his love for jazz led him to continually experiment with different sounds, but what Eddie did not know at the time, was that those “experiments” would eventually make him a person worthy of being considered one of the greatest exponents of Latin jazz and salsa.

Awards

It is true that the quality of a great artist is not only defined by the awards he owns, but it is a prove of how relevant his music has been in different eras; in Eddie Palmieri’s case, his showcase is quite full of awards, here are a few of the most important ones: In 1976 the American achieved a memorable feat at the Grammy Awards by winning the coveted statuette, all thanks to The Sun of Latin Music, a production recorded by him. This would be the first Latin American production to win this award.

On the other hand, Eddie also won the award for Musical Excellence, an award given by the Academia Latina de la Grabación (Latin Recording Academy); Another important achievement was being recognized by the NEA Jazz Masters Award thanks to his passage through jazz.

His musical career is very extensive, as is his discography, so his biggest hits have been compiled in the following compilations: The History of Eddie Palmieri (1975), Gold: 1973-1976 (1976), The Music Man (1977), Salsa Caliente de Nu York! (2001), Sugar Daddy (2007), El Virtuoso (2010) y Salsa Brothers (2011).

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Professor MSc. Carlos Colmenárez and his “WRITTEN SALSA”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cheo Valenzuela, “El Sonero de la Dulzura”

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

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

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

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

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

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

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

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

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

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

Gustavo Gerardo

“Singer and composer from Venezuela to the world”.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Negramenta Orchestra

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

Negramenta from Barlovento and its black guy stuff.

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

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

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

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

Orquesta Negramenta Los Buenos — Negramenta Los Buenos Orchestra

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Professor MSc. Carlos Colmenárez

Mauricio Silva with ¡fury!

Composer, arranger, producer, pianist, trombonist, vocalist and conductor he participated in the recording of more than 200 productions.

It is a great honor and the pleasant satisfaction of having one of the most prolific, successful and recognized Venezuelan musicians who works as a composer, arranger, producer, pianist, trombonist, vocalist and conductor as a special guest; who is also recognized by all salsa fans at home and internationally.

We refer to Mauricio Silva, who has a musical lineage inherited from his grandfather Manuel Silva Linares and his father Miguel Angel Silva; the latter stood out as the jazz bassist for Gerry Weil, Billo’s Caracas Boys, Los Melódicos and Orquesta de Porfi Jiménez, among others; his uncle Rafael Silva was considered one of the best and most experienced trombonists in Venezuela.

Composer, arranger, producer, pianist, trombonist, vocalist and conductor He participated in the recording of more than 200 productions — Mauricio Silva with ¡fury!

Some of his brothers are also musicians and include: Josué Miguel Silva (now deceased) and Daniel Silva, an outstanding bassist and singer in diverse orchestras nationally and internationally. His son Briant Silva and his nephew Harold Silva are part of the new generation.

Mauricio Silva was born in Caracas on December 30th and became interested in training very well in his profession from a very young age which is why he studied with great Venezuelan and foreign musicians.

He has participated in the recording of more than 200 productions. Some of them with: Sexteto Juventud, La Crítica de Oscar D’León, Wladimir y su Constelación, Dimensión Latina, Los Satélites, La Salsa Mayor, Arabella y su banda, Los Melódicos, Billo’s Caracas Boys, Silva y Guerra, Mauricio Silva y su orquesta, Oscar D’León, Cheo Valenzuela, Caribbean Magic, Porfi Jiménez, Salserín, Erick Franchesky, Guaco, El Trabuco Venezolano, Wílmer Lozano, Legacy of Venezuelan Salsa, Legacy of World Salsa, among others. His compositions include Se Necesita rumbero (recorded by Oscar D’León), Te haré feliz, Debe ser el amor and Canto al Madera.

To start this interesting interview, we want to welcome to Mauricio to “Salsa Escrita” the salsa column in which we support musical talent and promote the event of our Latin music nationally and globally through International Salsa Magazine www.salsagoogle.com.

Thank you very much Professor Carlos, the truth is that I am very happy to appera as a guest in your widely-read column and I want to send my greetings to your readers and followers, I am very happy to share with you.

Master Mauricio for us it is a pleasure to interact through this prestige means of communication, let me tell you that we consider you a great idol of our Afro-Caribbean music and want to know how you started liking music. Carlos, music means everything to me, it is my formula of life and I am in it as long as I can remember. Through many studies and divine support for everything I have done and although I am not the most successful in the world, I feel very satisfied with it.

Well Mauricio, by the way, by the time you were in the orchestra “La Crítica”, were you influenced by any musician?

Yes, when I was in La Crítica, I was very much influenced by Oscar D’León as the main factor, when I saw him playing and singing with that incredible swing, that definitely left its mark and listening to artists of the time such as Andy Montañez, El Gran Combo, Ismael Rivera, Héctor Lavoe, Celia Cruz and note that life allowed me to work with all of them;

because I worked with Hector, Celia, Oscar and many others from Puerto Rico, Cuba and my training was routed to tropical music by accompanying Daniel Santos, Celio Gonzalez, Alberto Beltran and the commitment was greater to know that they came from the Sonora Matancera and that is how my taste for music was cultivated.

And to start this interesting interview, we want to welcome you Mauricio to "Salsa Escrita" the salsa column, where we project the musical talent and make known the events of our Latin music nationally and globally through International Salsa Magazine www.salsagoogle.com. — Mauricio Silva has participated in the recording of more than 200 productions

When was the idea of singing born, Mauricio? Really, the idea of singing was not one of my goals, it dit not crossed my mind to be a singer, and moreover, being in front of an orchestra got me so nervous, since being behind made feel like a duck to water, conducting, playing, but not facing the public. I did not consider myself a singer, I simply have a normal ear to have a guide to melodies of the songs, the fact that I started singing was with “Salsa, Silva y Guerra”.

Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.

Manuel Guerra had asked me for some musical arrangements for a project of his, which was going to be recorded in Puerto Rico with arrangers from there, with Ray Santos and Máximo Torres. — “Salsa, Silva y Guerra”

I made arrangements to two of my compositions for him: “Qué linda es la vida”, “Se va el amor”, and well, it was recorded on the island of Puerto Rico, that was spectacular, but the “Black Friday” occurred and costs doubled, so Manuel had to finish the production in Venezuela and then he asked me to help him finish it, we set up the trombone, chorus and I took him to ride the voice, but Manuel had tone problems with the songs, he did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him.

Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.

And yet, at the end, I ended up recording that album, which was called “Salsa, Silva y Guerra”, because I got involved with Manuel Guerra and the label Rodven decided to call it that, and there the singer Mauricio Silva was born without wanting to. I never intended to be a singer, so when it is for you, it is like you do not even take off and so begins my career as a vocalist. Mauricio, we understand that you participated in more than two hundred productions and that shows that you are a very active musician in the music industry due to your professionalism.

Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.

He did not get the tones in the right way, I recorded all the guides to the songs, I learned them and I recorded them for him. Well, we have been trying to get him to record for 3 months, but he could never record that and the sound guy said that I was doing well without being a singer and he wasn’t.

Tell us: look, I had about 200 albums I had them computed, but I don’t know, I lost count.

For example, these days I met again with a musician from Barranquilla, we had already worked together in 1987 during a musical tour of the United States, me as a pianist in an orchestra and him as a timbalero, who is very famous in his city and I made an arrangement for him at that time and he brought back to that work and told me it was on Youtube.

So my participation has been as an arranger, musician, pianist, trombonist, choirboy, apart from the records I have served as a singer or as a guest.

I remember that I worked with “El Trabuco Venezolano”, artists from Panama, Puerto Rico, Colombia, naturally Venezuela, the United States, and Cuba.

I have done many things, both with salsa, boleros, bagpipes and much more, what happens is that I am more known in the salsa style, Venezuelan music, jazz, Bosanova, merengue, the Billo’s music, Los Melodicos, actively participating with them and salsa I have done work with Choco Orta from Puerto Rico, El Canario, Oscar D’León, Arabella, with the song’s arrangement I made of “Callejón” by Tite Curet Alonso; the truth is that I’m not complaining. Mauricio, by the way, an almost obligatory question, what have you made in such confinement by the pandemic there in Miami and how has Covid-19 affected you?

Tell us: well, the year 2020 was very difficult for all of us and the main thing that can never stop is the food and medicines supply; but entertainment and recreation is paralyzed and has timidly begun to move a little bit, but they have even stopped it again because the pandemic is still going on and here vaccination began here but the first to receive them will be the doctors, the nurses, elderly people, children and the general public, which, hopefully, will be the solution by 2021 and so artists will return to the stage.

I was affected by the coronavirus, it really hit me, solitary confinement for 15 days with many symptoms, but it detected with the exam, I did all medical treatment, I went through a lot of depression, but thank goodness I woke up much better one Sunsay and I said, am I cured? (laughter) then I had another test and it was negative, but it is an experience that has killed colleagues, friends and family; here in Florida, more than 2000 people are infected daily and 3000 people die every day in the whole country, but we remain optimistic with respect to work out airy.

Mauricio, do you have any upcoming project? Yes, there are always projects, I am producing new artists that will be know later on, but the global legacy of salsa is the most recent thing I put on the market, it is a tribute to salsa, so that the new generations can get to know that salsa that falled us in love in the 70s, 80s and 90s.

This is on all digital platforms and there is also the legacy of Venezuelan salsa. Likewise, the album “Billo’s Legendarios” in which I got the chance to be the arranger and in charge of the musical part of that production with the participation of: Carlos Vives, Oscar D’León, Charlie Aponte, Wilfrido Vargas, Sergio Vargas, Alex Bueno, Eddie Herrera, Don Fulano and Mily Quesada; in addition, the Venezuelan singer Karina and the vocalists of Billo’s Caracas Boys are special guests.

I am also working with the new from “Adolescentes” in its new phase from the hand of El Negro Mendoza.

I am doing the “Legendary Billo’s No. 2” and in talks with Gilberto Santa Rosa, Tito Nieves, Silvestre Dangon, Carlos Vives, who wants to sing the theme “La Casa de Fernando”, and also I am helping many colleagues because the world of the record has changed a lot, there are no longer record companies that support, so stay tuned to 2021 because very good productions are coming.

Mauricio, tell us, which singers have you accompanied in your successful career? Well, I had the honor of learning and playing with Alberto Beltrán, Celio González, Daniel Santos, those three singers from “Sonora Matancera”, we accompanied them with “La Crítica”, but even then, I accompanied Ruddy Márquez, José Luis Rodríguez, Oscar D’León, Celia Cruz, Héctor Lavoe, Justo Betancourt, Ismael Miranda, Eddie Santiago, Vity Ruiz, Maelo Ruiz, Tito Rojas (QEPD), Pedro Arroyo, Luisito Carrión, Rafu Warner, most of those artists from the 80s and 90s, and many more with whom I had the opportunity to be formed, musically speaking.

Mauricio, to finish, we have a friend in common, Nelson García “Nelsonero” in Barquisimeto, how was your work with him? Speaking of Nelson, is to talk about a great musician, a great person, from the first time I knew him, we were connected, we made a record with very few resources, but there was a magic of a talented boy who looked for a musician that is me and he put himself in his hands, and let them take him, although the songs are mostly from him or almost all the songs were from Nelson and I made those arrangements looking for a style with trombones and baritone sax, resulting in an album with a lot of heart, and from then on.

Many doors have been opened to Nelson for his way of being and he has traveled to many places in the world, and I really love him very much, I ask you to support him because he is one of those real talents, he is not made up, he is not manufactured, he is natural, that is Nelson de Jesus “Nelsonero”.

Dear Salsa fans, regular Salsa Escrita readers, we are very grateful to Mauricio Silva for the interaction we have had, give us a final message: Thank you Professor Carlos, of course, very grateful for allowing me to share in your widely read salsa column in which you promote and support the talent from my country and the rest of Latin America; I hope we can meet up again soon; I have a little bit of Barquisimeto, because I have an aunt who lives in the urbanization El Obelisco, I have cousins, godparents, Rafael Ure and a very big big greeting to all of them.

I love that city a lot, the “Musical City of Venezuela”, I have numerous friends there and I participated in orchestras such as: Nino y si Orquesta, La Banda Actual, they are all friends and we share a lot, so I send my greetings to all of them, thank you for this opportunity Professor Carlos Colmenárez “The Friend of the Salseros” and I hope to see you soon, we love you with fury!

after the rehearsal with the Los Angeles Philharmonic with Gustavo Dudamel and Oscar D'Leon - Mauricio Silva — Mauricio Silva after the rehearsal with the Los Angeles Philharmonic with Gustavo Dudamel and Oscar D’Leon

See you next time and keep dancing salsa!

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

Salsa and more Salsa

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

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

Genesis and expansion of salsa: chronology of themes

ESSENCE

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

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

New York Salsa

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

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

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

MUSICAL CHARACTERISTICS

Musical Instruments

The sauce has the following characteristics:

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

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

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

Puerto Rican Salsa

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

RHYTHM

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

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

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

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

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

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

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

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

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

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

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

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

Salsa time — Venezuelan radio disc jockey named Phidias Danilo Escalona

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

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

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

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

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

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

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

HISTORY AND EXPANSION

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

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

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

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

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

Bongo and Tumbadoras

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

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

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

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

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

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

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

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

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

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

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

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

The Fania record label
Fania All Stars

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

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

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

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

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

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

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

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

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

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

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

Genesis and expansion of salsa: chronology of themes

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

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

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

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

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

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

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

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

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

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

Salsa after the seventies

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

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

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

In Colombia

Colombian Salsa

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

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

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

Venezuelan Salsa

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

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

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

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

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

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

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

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

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

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

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“CUANDO SE ACABA EL AMOR”

If you want more contact information, access the following links below:

Eddie Palmieri

Awards

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

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

Cheo Valenzuela, “El Sonero de la Dulzura”

Gustavo Gerardo

“Singer and composer from Venezuela to the world”.

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

Negramenta Orchestra

Negramenta from Barlovento and its black guy stuff.

Mauricio Silva with ¡fury!

Composer, arranger, producer, pianist, trombonist, vocalist and conductor he participated in the recording of more than 200 productions.

Manuel Guerra had asked me for some musical arrangements for one of his projects, which was going to be recorded in Puerto Rico with arrangers from there such as Ray Santos and Máximo Torres.

Salsa and more Salsa

New York Salsa

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

Puerto Rican Salsa

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

Bongo and Tumbadoras

The Fania record label Fania All Stars

Genesis and expansion of salsa: chronology of themes

The Fania record label
Fania All Stars