Search Results for: Trombonist

In front of adversity we grow with Johnny Cruz .

North America/ All USA

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

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

Gilberto Santa Rosa - Colegas — Gilberto Santa Rosa – Colegas

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

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

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

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

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

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

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

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

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

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

Pedro Bermudez - Arrasando — Pedro Bermudez – Arrasando

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

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

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

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

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

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

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

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

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

International Salsa Magazine showcases important facts about Héctor Lavoe

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hector Lavoe el Cantante de los Cantantes

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

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

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

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

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

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

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

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

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

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

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

Héctor Lavoe

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

Son Del Monte’s musical director and timbalero Manuel Rivera

Who is ”Manny”

Manuel ”Manny” Rivera is the musical director and timbalero of the Son Del Monte Orchestra. We had the great opportunity to have a friendly conversation with him to know in detail his beginnings, career, groups, role as musical director, among other things.

Manuel ''Manny'' Rivera tells us his interesting story — Manuel ”Manny” Rivera tells us his interesting story

Time in the Yambú Orchestra

After apologizing for his deficits in the Spanish language, he continued by thanking us for the opportunity to tell his story and describe his time in the Yambú Orchestra, which was the first group in which he could start developing his talents in the 70’s. ”what we wanted to do at that time was make a mix between jazz with typical music because the pianist, who was of African descent, was who wrote the music with musical director and bassist Ramón Rodríguez”. It is presumed that the pianist focused a lot on these genres because of his roots, but his colleagues were fine with it.

Although he loved jazz, Manuel began to notice that it was not very danceable for the audience, which is what caused him to become interested in charanga, a genre that was already very famous in New York City in those years. That’s how he decided to immerse himself in this set of rhythms because he liked to see people go to the dance floor and enjoy themselves.

He also liked Yambú’s style a lot, but felt he had to take a more accurate path for what he was feeling at the time.

Similarities of Son Del Monte with other jazz big bands and members

I was a bongo player, but I started playing timbales because they are widely used in charanga. What I was looking for was to do a similar thing to what Eddie Palmieri did with La Perfecta, who used trombones and a flute mixed with timbales to achieve a charanga sound” said Rivera on this subject. He also added that ”I also wanted to avoid monotony of charanga so I also started using trombones, violin and a flute. This is what I have baptized as chajunto, a mixture of charanga with the characteristics of an ensemble (conjunto in Spanish) ”.

He also pointed out that New York does not have an orchestra like his because he did not want to do the same thing that all groups of this kind do, but something different and novel. ”Son Del Monte is charanga with something more for the people, not only violin and flutes,” said the artist. ”I have three singers with three different styles and they are Puerto Rican Luis Ayala, Colombian Armando Son Giménez and Puerto Rican-Dominican Luisito Soto Junior,” he added.

The Son Del Monte Orchestra also features from the talent of flutist Mauricio Smith Junior, violinist Erick Salazar, trombonist Juanga Lakunza, trombonist Charlie García, bassist Bert Castro, conguero Joe González, pianist Andy Colón, among others. This is the group that has stuck by his side for more than six years in spite of the storms and they always perform together.

All members of the Son Del Monte Orchestra

Opinion on the academic training of musicians

Rivera was one of the best students at Harbor’s Conservatory of Music in Manhattan, New York and he thinks that institution had done so mucho good for folk music because of all the talent that graduated there. After studying there, he began to read percussion music and learned to play batá, tumbadora, Colombian rumba, guaguancó, yambú, and so on.

The musician stresses the importance of studying, as this knowledge helps to understand the clave, the moment to start playing an instrument, the chime, the reading of music, discipline and many more. Before this, Manuel played led by the spirit and sensations, but his teachers at the conservatory taught him to have the technical tools necessary for being even more professional.

What is more important, experience or studies?

”Definitely experience. I have seen many great artists learn to read music without going to a conservatory and a great example of that is Roberto Roena, who did not need that learning to be who he was. However, that is something that not everyone can do” said Manuel. I can also mention the case of Tito Rodriguez who was not a musician guided by the lyrics, but he knew very well what he wanted. These are some of the many examples of privileged artists who only needed accumulated experience to achieve wonders with their work”.

However, this does not mean studies are not important, as they can teach things that can be useful later on and under some circumstances.

Front cover of the Son Del Monte Orchestra's album ''Una Charanga Con Algo Más'' — Front cover of the Son Del Monte Orchestra’s album ”Una Charanga Con Algo Más”

Covid-19

”The pandemic did not let us do anything on stage. The guys went to the studio from time to time or we met virtually, as we do now. It was so sad because there are many venues that have failed to open their doors again. Since the pandemic started, we have not seen as much activity in New York as it used to be before” expressed the artist sadly.

Also of concern to the musical director of the Son Del Monte Orchestra is that this situation has put many musicians out of work, at least in the industry. Active musical groups have very few members in the vast majority of the cases, contrary to his and the orchestra he conducts. He hopes that it will improve with time.

From Cali, Colombia, “La Crítica Orquesta” by Harold Estrada

With a unique, impacting, dynamic sound and with an explosion of musical energy, “La Crítica Orquesta” of Harold Estrada comes to us in this delivery, directly from the city of Cali, Colombia; who presents to the world, a different proposal with a clear and forceful message of much social sense in his interpretations. In a brief conversation we had with its director Harold Estrada, a young musician of great experience with Colombian Orchestras, he shared with us aspects of this successful group from Caleña.

Welcome Harold to International Salsa Magazine “The Only Salsa Magazine in the World”. First of all, tell us: since what date does “La Crítica Orquesta” come out? Thank you Professor Carlos Colmenárez, for the wonderful invitation that you make us from your city Barquisimeto, in our sister Venezuela, with a fraternal greeting and thus let us know a little more through you and this prestigious media; because let me tell you friend, that the Orchestra begins to sound since 2012, with an enterprising, constructive, quality and very professional work, in search of an authentic sound that identifies it and allows it to take its rightful place in the salsa environment here in Colombia and internationally.

De Cali, Colombia, “La Crítica Orquesta” de Harold Estrada

And in these 10 years of trajectory, have you had important participations in events and festivals? Indeed Professor Carlos, we had the honor of being present at the World Salsa Festival 2012 and also in the fairs of Cali, likewise several departments of the country have witnessed this magnificent evolution, seeking to remember the essence and expression of salsa Caleña with that characteristic sound and Orchestras that left their mark on the Afro-Caribbean and Colombian music.

Harold friend I understand that you develop a social and musical work in the city of Cali, tell us… Yes, our orchestra is developing and forming a “Collective of salsa to the street”, which is a program that is ready to rescue the Caleña culture, with the purpose of safeguarding the salsa in the city.

Which international artists have been accompanied so far by “La Crítica Orquesta”. Carlos, we have had the privilege of accompanying here in Colombia salsa artists of the stature of: Rafu Warner, Luigi Texidor, Chamaco Rivera, Ruben Sierra, Julio Lopez, Manny Fuentes, and more, demonstrating the musical support of the group.

What is the mission of “La Crítica Orquesta”? We are convinced that our mission is to make quality music for the enjoyment of the people, for the delight of the dancer and the ear of the music lover, but especially, music to free the spirit and cheer the soul.

Who are the members of the Orchestra? “La Crítica Orquesta”, is conformed by: Harold Estrada (conductor and conguero), Oscar Eduardo González (Trumpeter), Cruz Ramón Mayora (Bongos player), Andrés Holguín (Trumpeter), Ramiro Lennis (Singer), Leo Bonilla (Trombonist), Andrés Felipe Silva (Bassist), Marco Felipe Ramírez (Timbalero), Carlos Alberto Cruz and Harrison Muñoz (Singers), Mauricio Bastidas (Saxophonist), Jerry Alejandro Figueroa (Pianist), Gregorio Gómez (Singer), by the way our bongos player, is Venezuelan, born in the city of Naiguatá, but since he was a child he lives in the city of Barquisimeto, to which soon will be back, the experienced and excellent musician Cruz Ramón Mayora Medina.

La Critica Orquesta de Harold Silva — La Critica Orquesta de Harold Estrada

As for productions, have you already recorded some? Yes Professor Carlos, we already have several songs and even videos on Youtube for the knowledge of all. And these are the titles, composers, arrangers and performers: “Cannabis”, this is the most recent single recorded just a month ago, with lyrics by: Einar Flores and in the arrangements Andrés Silva, both Colombians. “Canallón”, lyrics by Einar Flores (Colombia) and arrangements by Pedro Cruz, (Dominican Republic). “Dale Duro”, composer and arranger Luis Cabezas (Venezuelan), the interpreters are: Carlos Cruz, Harold Aguirre and Adrián Barragán, respectively.

Excellent friend Harold and the social networks of the Orchestra. On Youtube you can reach us as: Orquesta la Crítica de Harold Estrada, Instagram: lacriticadeharoldestrada and Facebook: lacriticaorquestacali; for bookings you can contact us at: +573147800543.

Upcoming concerts or events? We will be present God willing at the “Concierto Circulación”, on November 26 and also at the Cali Fair.

Thank you for accepting the invitation, brother and friend Harold Estrada and the whole Orchestra, for us it was an honor to have you in International Salsa Magazine salsagoogle.com, and from here we wish the greatest success to “La Crítica” of Colombia, a group that undoubtedly, is putting well in high the Salsa made in Cali.

The privilege is ours, Professor Carlos Colmenárez, and from Colombia, we will transmit you the best wishes of the Orchestra and the whole country, so that you continue to make known the salsa talent of your beloved Venezuela as well as of all the Salseros in the world. Thank you a thousand times for the support you give to “La Crítica Orquesta”, and on behalf of all its members, we send you blessings and wish you many successes and long life. You, the social communicators are a key factor to promote and publicize the musical work for Salsa made with quality and international flavor for the dancers and connoisseurs of the genre.

Until next time and we continue salseando…!

Carlos Colmenarez

You can read: Henry Valladares, a brilliant, versatile, and disciplined percussionist

EFG London Jazz Festival

Commemorates 30 Years With A Display Of International Latin Jazz Artists

EFG London Jazz Festival celebrates its 30th birthday with the innovation and musical freedom that has always characterized the London Jazz scene.

This festival, the largest and in constant transition in North London, opens its space from Friday, November 11^th to Sunday, November 20^th to present a program of live and digital presentations with world-class artists, emerging talents, collaborations specials, avant-garde sounds, and the latest music for a massive audience that has established the EFG London Jazz Festival https://efglondonjazzfestival.org.uk/ as one of the main international Jazz events in Europe.

This emblematic event in the United Kingdom has three outstanding aspects that have characterized it over the years, they are Character, Impulse, and Wealth. The Character is evidenced in each edition with the contribution of special collaborations, discoveries, and exclusive commissions. The second aspect of this festival is the Impulse, being this event the highlight of the Jazz calendar in the capital. Finally, the third aspect is the Wealth that can be easily found in a club or concert hall packed with spectators to enjoy 300 live shows in more than 70 places attracting around 100,000 people daily.

In this 2022 edition, the star lineup is represented by nine international Latin Jazz artists such as Fiona Ross (Friday, November 11^th), Katriona Taylor Quintet presenting “La Reina de la Bossa Nova” (Saturday, November 12^th), Yuri Hernández (Sunday, November 13^th), Colectiva (Thursday, November 17^th), Mexico’s Woman of the Year for Arts and Culture, Migdalia Van Der Hoven (Thursday, November 17^th), the Jazz/Latin group led by Steve Rubie from the 606 Club, Samara (Friday, November 18^th), Trombonist Laura Impallomeni (Saturday, November 19^th), Osvaldo Chacón (Sunday, November 20^th) and Chucho Valdés (Sunday, November 20^th).

L I V E B A N D S

Fiona Ross

“Voices celebrate the power, connection, and expression of song, beauty, and aptitude…”

At fourteen she lied about her age to play weekend Jazz clubs in London. Photo: Alexander Barnes-Ross

Vocalist, pianist, songwriter, and producer, Fiona Ross, has become known for having an authentic contemporary Jazz sound obtained by mixing the fast rhythm of Latin Jazz, a brief flirtation with vintage Jazz, a bit of Neo Soul, and a touch of melancholy ballads.

Multi-award-winning Jazz artist, editor-in-chief, journalist, and founder of the award-winning organization Women in Jazz Media Fiona Ross was Director of the British Academy of New Music in London for nearly a decade, where she was responsible for the formation of Ed Sheeran, Rita Ora, among many others. Fiona’s date will be on November 11^th at 8:30 PM at the London Polish Jazz Café Posk (238-246 Kings St. W6 0RF), and the ticket is £15.

Yuri Hernández + DJ Flecha

“…Celebrating unity with the power of music.”

Many describe her album Loco Soñador as “a wild and sensual masterpiece.”

This multifaceted 10-day event brings to its lineup the established singer within the Latin music industry for the last two decades, Yuri Hernández. The establishment that will host it will be Juju’s Bar & Stage (Ely’s Yard, 15 Hanbury St, London E1 6QR) on Sunday, November 13^th from 6 PM, and the cost of the ticket doesn’t exceed £9.

Hernández is one of the most sought-after musicians in northern Spain and is introduced to the UK Latin Jazz scene through Loco Soñador, his second studio album released in 2020. Joining this musical genius will be DJ Flecha (Joel Verdecia) with his supporting act promoting Cuban music. This veteran DJ (25 years of career) has been nominated three times as Best Latin Tropical DJ in a European country for his technique and originality when mixing.

Colectiva & Osvaldo Chacón

“Beyond the margins, some of the most innovative artists at the forefront of Jazz are pushing its limits and expanding the definition of the genre while drawing influences from a wide range of other languages.”

Osvaldo Chacón and his band have played at the Royal Festival Hall, among many others.

This Afro-Latin and Jazz music band, Colectiva, reflects on themes of sisterhood and female empowerment. They are rooted in the sounds of Africa, Latin America, and the diaspora, creating a genre that the group has dubbed Jazz Tropicaliente (Hot/Tropical/Jazz). Their debut single is Under The, written in collaboration with pianist María Grapsa and released in April 2021. This track received great support from global radio stations and famous DJs in the music industry.

Colectiva will be presented on November 17^th at 8:30 PM at the London Kings Place-Hall Two-(90 York Way, N1 9AG), and tickets have a permanent price of £15.

On the other hand, Osvaldo Chacón’s band is the leading Timba orchestra in the UK and has been nominated multiple times for the prestigious LUKAS awards. Osvaldo Chacón, composer, producer, and singer-songwriter, has shared the stage with great Salsa figures such as Adalberto Santiago, Azuquita, Tito Allen (Fania All Stars), Salsaceltica, Eddie Palmieri, as well as the greatest world-famous stars such as Celia Cruz, Oscar D’León, Rubén Blades, and Alberto “El Canario”. Supporting Osvaldo Chacón will be DJ Javier La Rosa mixing Salsa, Cuban Timba, Reggaeton, Latin Hip-Hop, and R&B. Sunday, November 20^th is the date when you can enjoy these presentations. Time: 8 PM. Venue: Juju’s Bar & Stage. Ticket: £10.

Chucho Valdés

“The Icons are the living legends of Jazz and the leading heroes of the genre who paved the way and continue to create, inspiring artists, and audiences alike.

Valdés, with his valuable contribution, has given direction to Afro-Cuban Jazz

The EFG London Jazz Festival brings the Cuban pianist, composer, and arranger Chucho Valdés, who celebrates his 80th birthday with his extraordinary work La Creación with the Yoruban Orchestra and Hilario Durán & John Beasley.

The winner of six Grammy Awards and three Latin Grammy Awards is the most influential figure in Afro-Cuban Jazz of the 20th and 21st centuries. In an extensive career spanning six decades, Valdés has pushed the boundaries of new expressions in Afro-Cuban music. His influence and inspiration in the genre are immeasurable to the point that his work sets the standard by which new generations are governed and drives their careers. To see Chucho Valdés head to the London Southbank Center (Royal Festival Hall, Belvedere Road SE1 8XX) at 7:30 PM. and tickets range from £30 – £45.

Along with Chucho will be the cellist, vocalist, composer, and niece Ana Carla Maza. Within her discography is the album La Flor (2020) which incorporates Latin rhythms, Pop melodies and Jazz harmonies along with classical techniques. Bahía (June 26, 2022) is her most recent production inspired by Cuban Son, Samba, Bossa Nova, Tango, Jazz, and Chanson with a rich mix of classical cello and voice.