Search Results for: Trumpet and Percussion

Lawrence and his Vanguard Orchestra I always went ahead of what I wanted and broke “The barriers”

Lawrence Daniel Ibarra Perdigón

The Vanguardia Orchestra was born on May 28, 2001, the name of Vanguardia comes because I always ahead of what I wanted and break the barriers, beginnings date back to 1974 in Block 6 of January 23 in Caracas, musicians rehearsing: Cheo Navarro, Miguel Pacheco, el Gordo Zambrano, Miguel Diaz, Edgar Dolor Quijada and my older brother who supports me and gives me a drum set.

My first professional presentation was with a group called Clave and Son de Caricuao, the director was David Zurita, I made my debut as a chorus singer, imagine if we only alternated with the Caribbean Classical Sonero, that was on May 1st 1983, then in 1985 I began my career as a bongosero in the Fundarte Workshops in the Aquiles Nazoa Library with Professor Orlando Poleo until 1987, the Orchestra Conductorship came later.

The Orquesta Vanguardia is made up of 12 musicians, all of whom have great experience and professionalism. The orchestra is made up of Vicente Frigeiro 1st trumpet, Douglas Villarreal 2nd trumpet arranger, and Miguel Sánchez 1st trombone. 2nd trombone Wilfredo Calderón, Percussion, Oliver Meneses timbal, Richard Avila tumbadoras, Jackson Monterola bongo and bell, piano Douglas Madera arranger and director, bass Elio Torres, singers and choirs José Cedeño, Pedro Rivera and Lawrence Ibarra.

Lawrence and his Vanguard Orchestra I always went ahead of what I wanted and broke "the Barriers". — Lawrence and his Vanguard Orchestra I always went ahead of what I wanted and broke “the Barriers”.

We have alternated, with figures like Hildemaro, Bailatino, Erick Francheski, Grupo madera. Manuel Guerra, Watussi, Naty y Su Orquesta, Noche Caliente, Son Madera Son, Mandinga Star Band, Orquesta Sabor y Swing, Orquesta La Oportunidad, Orquesta Saraguey, Sabor a Pueblo, Orquesta Sinsaye de Venezuela, Agrupación los Tan Tan, Pibo Marquez and his Criollo download, El Combo de Venezuela, Javier Plaza, music lovers meeting in Cali Colombia sharing on Channel 14 with Samir Bazzi and Eddie Saa Colombian singer, Radio Z te Prende with the Pepezon Cali Colombia.

As a bongosero I started in 1985 going through several groups such as: Clave y Son, Son Bacara, Son 27, until 2001 when I founded my own orchestra today Vanguardia, but it was for a short time in the Bongo with Vanguardia.

Beginning as a singer, thanks to the great teacher Oswaldo Morales, well known for his hits like Cinco Centavitos and Ella, I studied with him for about three years. In 2005 I recorded my first production entitled Marcando la Diferencia with 11 songs like SABROSITO by Jose Reina, Cheo Navarro’s Fashion Orchestra, Quiero llorar , Ni llanto ni Flores , Déjalo Volar by Composer Angel Flores, Escaleras de tu Mente by Fran Quintero and Ciriaco by Pedro Rivera With this first production we traveled to Cali and made ourselves known to the public.

I have 8 songs of which 6 are Originals and 2 versions of songs like; Eres tu this is the promotional song that has its video clip that can be viewed on YouTube, as Lawrence and his orchestra Vanguardia.

The Vanguardia Orchestra was born on May 28, 2001, the name Vanguardia comes because I always went ahead to what I wanted and break the barriers, beginnings date back to 1974 in Block 6 of 23 de Enero in Caracas, rehearsing musicians: Cheo Navarro, Miguel Pacheco, el Gordo Zambrano, Miguel Diaz, Edgar Dolor Quijada and my older brother who gives me the support and gives me a drum set as a gift. — Lawrence and his Vanguard Orchestra

I want to cry by Elias Escalona, Eduardo Serrano’s Barlovento, Viejo Chévere by Maestro Luis María Frómita (Billo), Guayabera no dé, Dame otra Tarde by Maestro Alfredy Bogado, Ven y Vacila by myself as well as Eres tu debuting as a composer and Vanguardia Son by Douglas Villarreal Arranger of this second production, Jose Guachafa Guzmán , Jose Tuky Torres, Douglas Madera and Douglas Villarreal.

Tours presentations clear promotional tour to Cali Colombia, Peru, Mexico presentations contrasts in VTV, covers in Venevision, Cota 800 Alba, Gaveguero and Bellaglio.

Promotional tour of Colombia in 2019, cities like Bogota and Cali, participating in radio and television, Fairs of Cali, currently I have my third production which consists of 9 unreleased songs and two video clips, Esa Mujer and Block 6 and placed on YouTube by the hand of Alfredo Montilla, musicians who participated Pianos: Douglas Madera and Sammy Infante, Bass: José Guachafa Guzmán, Julito Antillano and Eliot torres, Percussion: José Cheo Navarro, Carlos Guzmán, Enrique Sojo and Oliver Meneses, Trumpets: Vicente Frigueiro, Luis Ruiz and Douglas Villarreal, Trombones: Miguel Sánchez, Singers and Chorus, Edgar Dolor Quijada, Pedro Rivera, José Cedeño and Lawrence Ibarra, Recorded at Requena Studios, Recording Technician Francisco Requena.

Emisora Oye Ven por 106.9 FM — “En Vanguardia con Ritmo Salsa y Sabor”

Currently I have been 3 year in my new facet as a broadcaster, by the Emisora Oye Ven on 106.9 FM with the program that comes out every Saturday from 12:00 pm to 2:00 pm which is entitled “En Vanguardia con Ritmo Salsa y Sabor” which I support the Venezuelan with talent, ephemeral music reviews and where everyone sounds.

Musical Production, Douglas Madera and Douglas Villarreal, Executive Production, Lawrence Ibarra

Photography by Alfredo Montilla

Contacts: Email: [email protected]

Twitter: @vanguardiaven

Mobile: 0412-998-14-06

Facebook: Lawrence Daniel Ibarra Perdigon

Article of Interest: José Madera Niño “Salsa became part of my growth”

History of the Orchestra “La Terrífica” of trumpeter José “Joe” Rodriguez

In the early 70’s, the trumpet player of La Sonora Ponceña, José “Joe” Rodríguez, decided to leave the orchestra led by Papo and Quique Lucca.

Joe had been part of “La Más Sureña” since almost the foundation of the orchestra and was even the lead trumpet player in the successful productions “Hacheros Pa’ Un Palo” (1968), “Fuego En El 23” (1969), “Algo de Locura” (1971), “Desde Puerto Rico a Nueva York” (1972) and “Sonora Ponceña” (1972) with which the orchestra achieved great international recognition; however, this time, the trumpet player had decided to execute an idea that had been in his head for some time.

He was also joined by percussionist Mickey Ortiz and, incredibly, the lead voice of La Sonora Ponceña, Tito Gómez.

In the early 70's, the trumpet player of La Sonora Ponceña, José "Joe" Rodríguez, decided to leave the orchestra led by Papo and Quique Lucca. — La Terrífica 1974

Soon, Joe Rodríguez, with the collaboration of the resigning members and his first cousin, bongos player Francisco “Chalina” Alvarado, who curiously had also been part of La Sonora Ponceña in the past, organized his own orchestra which he called “La Terrífica” and began to travel all over Puerto Rico performing at festivals and patron saint festivals.

La Terrífica ‎"Sabor A Pueblo" 1976 — La Terrífica ‎”Sabor A Pueblo” 1976

Sometime later they signed a contract with the powerful Fania Records label to record with its subsidiary, Internacional Records, their first album under the production of Larry Harlow, titled “Terrífica” (1974), which featured Adalberto Santiago on backing vocals, Héctor Lavoe and Yayo ‘El Indio’, which included the song ‘Hachero Mayor’ written by Francisco Alvarado and vocalized by Tito Gómez as a protest to one of the most popular Sonora Ponceña songs on the island: ‘Hacheros Pa’ Un Palo’ authored by Arsenio Rodríguez.

“Yo traigo el hacha mayor, De aquella 72 Arsenio me la dejó la, con doble filo la traigo yo.

I come to chop down a stick, which they call ‘palo mayor’ because I’m the brave one here, I’m the axeman, I bring the axe, from that 72 Arsenio left it to me, I bring it with a double edge.

I come from the mountains and I bring a lot of firewood,

Gentlemen, I come waving, I am the main axeman.

Seventy-two axes for one stick, with my two-edged axe,

Now I cut it.

I bring the biggest axe, with a double edge I bring it.

Gentlemen, I went to the mountain and I come very tasty, to distribute to the whole world, I’m the biggest axe man.

Double-edged, double-edged gentleman.

With double edge I bring it.

Careful, jump out of the way, gentlemen, so that they will know, I’m coming with “La Terrífica”.

If you don’t get out of the way, I’ll run over you with my truck.

I’ll bring it with a double edge”.

The new orchestra was doing well, they enjoyed the public’s acceptance.

The contracts began to arrive by themselves and they had a good future, however, Tito Gómez would surprise everyone when he announced that he was resigning from “La Terrífica” because he had received an interesting proposal from New York to join the powerful band of conguero Ray Barretto who, after the sudden departure of his singer Tito Allen, was looking for a new vocalist to accompany the young Panamanian Rubén Blades at the front of his orchestra.

The following year, La Sonora Ponceña records in “Tiene Pimienta” (1975), its next production, the song “Hachero Sin Hacha” in the voice of Miguelito Ortiz (who arrives to the orchestra replacing Tito Gómez to accompany Luigui Texidor), written by Papo Lucca himself, in which he responds harshly about the alleged awarding of the axe to “La Terrífica” and even makes fun of the resignation of Tito Gómez with the pregón “una gallina que no pone porque ya no tiene gallo” (a hen that doesn’t lay because she no longer has a rooster).

“Where is that great hatchet man who advertises himself out therethe one who remembered Arsenio for a triumph to get.

You are nothing more than a parrot a head without brains a hen that does not lay because it no longer has a rooster.

That axe that you have looked for cardboard teeth that was that the great Arsenio, a joke played on you.

Search well in your memory the year sixty-nine when in your presence Arsenio with Lucia sent me an axe as a reward the sign of the woodcutter.

Axemen without an axe, they are.

Your axe does not break skulls, your axe is made of cardboard.

Arsenio mistook you, Arsenio misled you, your time is long gone Ay, I’m telling you, where is that great axeman?

Maybe he died, maybe he died, you have to put your head in it, you have to put inspiration in it”.

Orquesta La Terrífica Casa Pobre, Casa Grande 1980

Incredibly, when a strong response was expected from “La Terrífica”, its director Joe Rodríguez decided to concentrate his energy on finding a replacement for Tito Gómez and to reinforce his orchestra. Thus, Yolandita Rivera from New York and a 16-year-old teenager named Héctor “Pichie” Pérez joined the group and recorded “Sabor A Pueblo” (1976), their next LP under the production of pianist Jorge Millet.

The differences between both orchestras seemed to vanish as if by magic after a supposed private meeting between the founders of both groups, a situation that allowed them to have a peaceful party.

This fact would be verified later with the recording of two songs by La Terrífica: “Humo En La Cabeza” and ‘”Vida Se Llama Mujer” both authored by Luigui Texidor, the vocalist of La Sonora Ponceña; and the linking to Quique Lucca’s orchestra of vocalist Yolanda Rivera (the main voice of La Terrífica), who, besides other hits, recorded the merengue “Si No Me Meto” composed by Francisco Alvarado, co-founder and bongos player of La Terrífica in the album “El Gigante Del Sur” (1977).

The result of this determination gave great and good results for all, to the extent that Tito Gómez returned to La Sonora Ponceña to record several songs written by Francisco Alvarado, among them “Moreno Soy” included in the album “Explorando” (1978) and eventually Joe Rodríguez participated with Quique Lucca’s orchestra as a guest trumpet player for some trips.

From this moment on, “La Terrífica” would act as a kind of quarry of vocalists and musicians that would provide La Sonora Ponceña with salsa talents, this is the case of Manuel ‘Mannix’ Martínez, Héctor ‘Pichie’ Pérez, Yolanda Rivera, Luisito Carrión, Wito Colón, Luis ‘Cuchy’ Castro (trumpet), Efraín ‘Frao’ Hernández (bass), Freddie Del Valle (trumpet), Japhet Rodríguez (timbal), Jorge Miranda (bongo), among many others.

La Terrífica ‎"Mas Terrífica" 1992 — La Terrífica ‎”Mas Terrífica” 1992

La Terrífica, from its creation until 1992, recorded ten incredible productions, saying goodbye to the Salsa market with the hit “Corazón Fracturado”.

For his part, Joe Rodriguez, the founder of La Terrifica, has been retired from music for quite some time and devoted to his religion; while Francisco “Chalina” Alvarado founded El Conjunto La Perla and is still immersed in the world of salsa.

Facebook: Orquesta “La Terrífica”

Source: Frank Manuel Orellana

Article of Interest: Where the idea of the name of the Fania Record label came from

Know everything about Oscar Hernádez and Spanish Harlem Orchestra

Spanish Harlem Orchestra and its beginnings

Spanish Harlem Orchestra is for many one of the best Latin jazz and salsa bands in the world due to its long career, impressive relevance and numerous awards throughout its 19 years of existence. This Latin music orchestra based in the United States was created by producer Aaron Levinson and producer, composer and arranger Oscar Hernandez, who gave birth to a legendary group, which was Grammy winning twice and whose style has differentiated it from many others of its kind.

It all started with a call from Levinson to Hernandez to offer him the opportunity to join an ambitious project he had in mind, which consisted of the creation of a Latin jazz orchestra with a very peculiar sound and style. The producer could not resist such a proposal, so he agreed to lend his talent to the nascent initiative. This is how they debuted their first album Un Gran Día en el Barrio in 2002, thanks to which they received their first Grammy nomination for Best Salsa Album. After their first singles, the new group began to garner major success and to offer great performances all over the world.

One of the main objectives of the members of the band is to set for themselves is to keep salsa dura alive in order to be lasting and to reach as many lovers of good music as possible. This is how the Spanish Harlem Orchestra, or SHO as its fans affectionately call it, has managed to preserve the best of traditional salsa, but from a fresh and innovative perspective.

Its centerpiece Oscar Hernandez

This is Oscar Hernández — Oscar Hernández playing the piano

Its most famous member Oscar Hernandez got his taste for music in the vicinity of Harlem’s Latin Quarter, where he spent his early childhood that would mark his professional future. As a young boy of 12, he became a trumpet player, but it would not be long before he decided to switch to the piano. He spent much of his adolescence playing with many Latin Jazz artists of the time. One of those great stars with whom Hernández had the opportunity to explore his talents was Rubén Blades, for whom he worked as a producer, arranger and pianist.

In the 90’s, the musician produced the album Dance City, for which he received good reviews in the New York Times and was called by singer and composer Paul Simon for his Broadway show.

Today, we are fortunate to have the pleasant presence of Oscar Hernádez to tell us about his beginnings and the path he had to take to join the project for which he is best known today by many of his fans, Spanish Harlem Orchestra

Mr. Hernandez, reading your story, we noticed that Spanish Harlem started with a call from Aaron Levinson in 2000, could you tell us a little about that?

Aaron Levinson is the producer. I did not know him. I have to make it clear that he is not a musician, but a DJ with a lot of connections and was called to make a record with the Warner Bross label with a specific concept. They thought he was the right person for that. He called me to help him with the musical part. Everything related Spanish Harlem Orchestra I owe to him because that is how I joined the project. That was what had to happen in terms of my fate. That is how God told me to wake up and understand that this was what I had to do. Until such time, I had only been a producer, arranger and pianist, so Levinson came to me and I accepted. We talked about the tracks and he picked some that I did not want to do. To make a long story short, we recorded the album, but Warnes Bross said they did not want to release it, so they gave it back to Aaron. A year and a half later, he sold it to a small company whose owners were friends of his and it was nominated for a Grammy. Since then, I started with the orchestra in 2002. The orchestra is almost 20 years and has been a great blessing for me. It was intended that he called me to put my personal stamp on that record with my brain and my heart, so I could create all the music that I have made these 20 years. Aside from that, we have gotten incredible reviews all over the world and won three Grammys. People know how good the orchestra is and how good the concepts we have recorded are because it is all documented. Listen to any of the albums and you will immediately note our quality, integrity, professionalism and musical concept. Obviously, I have very good musicians helping me, but final decisions start and end with me.

After you decided to carry out the project, how did you combine what you already had with Spanish Harlem Orchestra?

It was a moment in time that things were changing. I did not have anything stable at that time, as I had just finished working with Paul Simon in a stage play which was quite a large process. I was freelancing, so I was working for whoever called me. The perfect time came when I had the chance to create the orchestra and it was not easy because I had no ambitions for a career as a bandleader. It was not something I wanted to do, but I had to learn a lot of things after I became one like dealing with people, with musicians and with situations that were not easy. During that process, I had to get rid of a lot of people because I realized that I had good intentions, but that is not enough. You have to have willpower and be clear about the concept musically and in terms of business. I always try to deal with musicians in the best way because I was one before anything else. I try to be transparent and understand all situations, but there are also selfish people who want to enjoy all the advantages for themselves and I am not in that plan. My plan is to look for what is in the best interest of all of us as a group. At my age, I do not have time for anything but high quality and professionalism. I lasted seven years with Ray Barreto and recorded six albums. I lasted 12 years with Rubén Blades and we also recorded six or seven albums. What do I say? I have already worked with many people like Juan Luis Guerra, Paul Simon and many others who have left an important mark on me as a musician and as a director.

Oscar with his piano — Oscar Hernández next to his piano

What do you consider to be the most valuable thing you have learned from the artists you have worked with?

I think all these people have love for music, which is the most important thing. I remember my times with Barreto, who listened to all the mixes we made and drove musicians crazy in search of perfection. Like Rubén Blades, who was a transparent person and always wanted to do his best as a musician. It is not just one thing I have learned, but several because they are all important. I believe that love, professionalism and willingness to work with musicians. I remember that Rubén was the bandleader, but he always considered our views as musicians. I was even the arranger and my musical value was respected from the beginning. I respect my musicians very much and I give them all the value they deserve.

You told me earlier that you were on tour in New York. Could you tell us how it went? How did the audience respond? How did it feel to be back on stage after such a long time?

It was incredible. Our first concert with the orchestra was in the very heart of of New York City on 42nd Street in Manhattan. There is a place called Brian Park and there were about 10,000 people there, as the event was free to the public. It filmed live and virtually streamed. I mentioned to the audience that this was the first time we played live and that we had only one rehearsal the day before. It was an amazing experience because I felt that musicians were in the best position to make a first-rate performance and they did. The audience warmly and gratefully applauded. When you do something all your life and suddenly it stops for a year and a half, you realize many things.

What other events are you going to do? Are you planning on touring outside the United States?

We are scheduled to have a tour in June in Europe, but it remains to be seen what will because COVID is still present and countries are evaluating how things are going to go in the next few months to specify dates and cities. In December, we will have four shows, two in Santa Fe, one in Albuquerque (California) and one in Costa Mesa (California). We are no longer touring as such, we are doing dates. It had been years since we have toured like we used to. The new album is done and sounds amazing. Last week, we were in New York finishing the vocals with the three singers, who are some of the best and it was a pleasure for me to share with them. They are clear that they have to do their part in what is going to be another great record.

Oscar with his Grammy Award — Oscar Hernández with his Grammy Award

Questions from a lifelong admirer of Oscar Hernandez

Augusto Felibertt, international director at International Salsa Magazine, professional DJ and collector, asked Oscar Hernandez some very interesting questions to learn more about his past as a musician.

I want to know your feeling about your time with Grupo Libre de Manny Oquendo and Grupo Folklorico y Experimental Nuevayorquino.

Associating with Andy and Jerry Gonzalez was an incredible experience for me as a young musician in New York. They were an important part of my development. They were a little older than me, but I remember Andy came up tome and presented himself when I was playing with Ismael Miranda in a club. He told me it was nice to meet me and that we sounded great. Since then, we became friends and he invited me to his house. When I arrived, it turned out he lived with Jerry in an apartment below his father’s and had an incredible record collection. We would spend many hours listening to music I had never heard and arguing about musicians. We would debate about who was the most important, who else we liked. It was a very nice time from which Conjunto Libre de Manny Oquendo emerged. I was the founding pianist of the group that recorded the first three albums. The image of Grupo Folklorico y Experimental Nuevayorquino also emerged. That group composed of of Andy, Jerry and René López became larger with other musicians who joined later such as Alfredo Chocolate Armenteros, Virgilio Martí, Heny Álvarez, Willie García, Milton Cardona, among others. There were so many musicians that the image of what a jam was (a spontaneous concert in which an artist or group performs before a small group of spectators) was expanded.

Ray Barreto’s album Reconstrucción, a musical jewel for the salseros of the world. I want to know about your experience on that recording.

Reconstrucción was one of the most important recordings of that time because the elements that Rey used to design the concept resulted in something incredible. I am very proud of that record with more than 40 years old. I was 25 years old when we made it and it went down in history. I am very grateful to Ray Barreto because he gave me the opportunity to work as a pianist and arranger on that recording. Even today, many musicians tell me that they listened to that album every day and were inspired by it.

I would like to know about your time with Carabalí.

Carabalí was the group of Raúl Primo Alomar, who was a conguero, and percussionist Rey Colón, who was a bongo player. They wanted to make a septet and called me to join as a producer. He was the producer of the two albums. I am very proud of that experience because I can be anywhere in the world and people still call me Carabalí wherever I go. Aris Martinez, the singer of the group, was about 20 years old at the time and I kept correcting him in the studio all the time. Nowadays I listen to him and he sings very well. However, it got to the point where we had a disagreement, so I left the group and wished them luck.

You recorded an album entitled Como Nunca with Orlando Watussi, could you tell me a little about it?

I do not remember much about the details, but Watussi has always been in the music business and has been considered one of the best singers. We don’t talk much, but he is a great person and a lifelong friend. That was a great opportunity for us and another example of how I have done my bit in the music scene with what I feel in my heart.

Oscar Hernández with friends — Oscar Hernández, Rubén Blades, Eddie Montalvo, and Ralph Irizarry

Oscar Hernádez and his las recording — Oscar Hernández’s last recording entitled *Visión*

Link to Spanish Harlem Orchestra’s official website: https://www.spanishharlemorchestra.com/

DJ. Andy and his Salsa Council

I have known DJ. Andy since he was the resident DJ. at the Embassy Suites in Isla Verde (Puerto Rico) for the salsa nights that I remember attending religiously every Saturday.

However, everything changed when one Saturday night we went to the weekly event as usual. There we realized that DJ Andy was no longer there. They say that necessity is the mother of invention. It must have been out of sheer necessity that the man who would later become DJ Louie Love suddenly learned to play records on his own and without having planned it quite abruptly.

So, years later, destiny took me to the American capital because of a highlight of which there is no longer only the memory. From that highlight that I would like to forget, in Washington, DC I remember with a deep affection to have met again with the one who had already been called “the most danceable”: DJ Andy. Life and its twists and turns, we lost track of each other again until one day during one of my missions to New York I decided to go for a little dance without knowing that there I would meet again with DJ Andy. Andy was already making his way in the Big Apple, the same place where salsa was cooked more than half a century ago.

Anyway, what we came to, to share with you my impression of the third album in which DJ Andy immerses himself in a parallel way in his facet as executive producer. So, I am reviewing this catchy collection of fifteen tracks because I loved the programming and the variety of what I consider a very complete album, while achieving a first class musical performance.

Consejo Salsero (Venezuela All Stars)

Despite being performed by Venezuela All Stars, the arrangement of this salsa song is in the best New York style and very well done. The title track opens the listener’s senses in an invasive but good way; something like a sure way to arouse curiosity about the production and the tracks that follow it. Marcial Istúriz is as always a sure shot. Good voice, impeccable rhythm and one of those sonorous sounds that could make him the new owner of sonorous music. I summarize here from my corner without offending anyone, Marcial is a great sonero.

The son came to the city (Secreto a Voces)

If not the most, one of the most danceable songs of the production. Bravo!

Como se atreve (Renzo Padilla y su orquesta)

The singer’s voice is fresh and synchronized with the kind of lyrics that ask for another chance and shout sincerity. Before the second minute, the bongo takes over the transition announcing the mambo and the take-off of the “trip” injected by the pregones and the play on words in the soneos. The winds are carried by a trombone played with cleanness and precision. The end is announced with a percussive interplay between the winds and the piano, which almost takes center stage without dulling the leather beats.

Señora Rumba (Julio Cortez and his court)

The singer, once again, fits the theme like a glove, since his voice recalls the metallic melody that a bravo theme requires. The piano harmonizes perfectly with the coros and percussion. Here there is a perfect harmony between piano, conga and timbales. It seems to me that I hear a xylophone flirting with the conga, without detracting from the piano.

Mary Juana (Carlos Guzmán y su orquesta)

The introduction of the song reminds me of the arrangements of the glory days of Orquesta La Solución, but with a bongó playing in the arrangement. The trombones announce themselves early on and ask the bongo for permission to join them around the first minute. The piano harmonizes and gives way to the brass without conflicting with the musical change that around the third minute adopts a style of those with which Wayne Gorbea established his sound. Masterful the way in which the arrangement moves through varied styles without running over the flow of the music.

Salsa pa’ ti (Grupo Tahona)

This is a very heavy song, one of those that starts with the chorus without shyness. The boldness of the arrangement threatens to go straight to the mambo in a very elegant way. A gentle piano solo crosses over from a minute and a half in. The piano solo gives way to a melodic trumpet solo that doesn’t allow screaming. The conga takes the lead from just before the third minute, making sure that the brass does its thing, in anticipation of the return of a piano that dictates the chords of the distant line. All in all, this is a very tasty track.

Quiéreme (Gumby Navedo and his orchestra)

The interpretation sounds great and the singer’s voice is one of those indisputable and unforgettable ones. The lyrics are worthy of the interplay between the saxophones and the rest of the wind instruments. At three and a half minutes the pregón changes with a lot of class and distinction before handing over to the saxophones at the end to give way to the closing, which the cueros make precise.

I come from New York (Son del monte)

The flute enters quite early and quite forcefully. The violins match the flutes and the typical charanga bell ringing. I imagine that Andy wanted to include a variety of rhythms within the range of Afro-Caribbean rhythms and manages in the process to give us a complete collection. Even dancing pachanga doesn’t let us forget. Thank you!

Vengo del Congo (Julio Estrada y su orquesta)

The arrangement of the song is one of those classics that could be used as an example to demonstrate the salsa sound without pretension or fuss to anyone who has never heard salsa before. At two and a half minutes, Julio Estrada plays a heavy piano solo before the mambo enters in all its splendor. Winds, timbales, conga and piano come together to take us on a journey into a synchronized, non-competitive melody.

Pa’l bailador (La Negramenta)

The introduction of this unquestionably salsa song gives prominence to the baritone saxophone in a flirtation that walks between salsa and boogaloo. However, the boogaloo sound is short-lived, giving way to a well-defined, traditional salsa. At the third minute, the trumpets enter in correspondence with the percussion. At minute 3:45, the conga takes over the distant line, giving way to the trumpets and timbales, announcing that the song is elegantly descending in intensity.

El rumbero (Leo Pacheco Jr. y su orquesta)

This song wants to highlight the essence of African music within the salsa music made in Venezuela. This arrangement seems to be inspired by the evolutionary inventions that today are a winning formula. I am referring to the adjustments that Bobby Valentín made, at the request of maestro Willie Rosario. The big difference is that this arrangement is somewhat louder than the ones that started this formula several decades ago. The trombone and conga take over, anticipating “salsa, guaracha y bembé” as the song says.

Nací pa’ cantar (Wiwi Buznego y su orquesta)

The song is pure salsa, conga, pregones and lots of rhythm for the dancer who responds to a fluid arrangement without much distraction. The first significant percussive cut that captures the dancer’s attention hits the senses at minute fifteen (1:15). From then on, the performer plays between conga beats, trumpet blasts, pregones and soneos. The mambo is unforgiving and if the dancer lets himself be carried away by the music, he can feel it to the last drop of blood running through his veins.

Camina y ven (Charanga Masters)

A Cuban song from the heart made in the best charanga format, taking into account that technology allows to improve the sound of the past. The flute and violins play with the percussion in a daring way, modernizing what was the charanga in its original form.

Mi propuesta (Robert Burgos and Descarga Zason)

The closing track travels to Cuba in pure timba sound. The singer harmonizes perfectly with the arrangement and the execution of the orchestra, his voice being the typical Cuban voice that stands out in timba format. Very successful to close the trip of the compact disc with timba. Very well achieved farewell.

Although the release of this CD was in 2019, for me it is new. So I take the trouble to assure you that if you listen to it you will love it. If you dance, you’ll wear out your sole. And if you don’t, you’ll be encouraged to learn to move your skeleton to the rhythm of this tasty treat.

Thanks, Andy, congratulations!

Facebook: Andy Rodríguez

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

WebSite: Bella Martinez

Article of Interest: From Italy Albert Giorgio Giovanni DJ. Lindo Salsa and Bachata

Yamira Blanco -Director and tresista of her group Son Latino

Many musical genres that emerged over the years, among them are the salsa genre which was a boom in the decade between the 60s and 70s, being a movement that mixes African and Caribbean sounds, which has been adopted by male artists already that in those times the woman who played a musical instrument was frowned upon and it was not accepted that they were in music, however this did not stop and the experience made the artist and she spent many years, female groups managed to exist in Salsa.

In this October 2021 edition, we have the opportunity to interview Yamira Blanco Ramos, a salsa singer who participated in the orchestra made up of fourteen women who cultivate Cuban popular music, fusing the most traditional rhythms with contemporary sound, also known as “Las Mulatísimas del Sabor ”, have achieved a seal that distinguishes them and are appreciated by both critics and dancers from all over Cuba and from various countries around the world.

Yamira Blanco - Photo — Photo by Yamira Blanco

He was in the hands of the prestigious guitarist Efraín Amador during his beginnings and in turn began his studies at the National School of Art (ENA) and then continues the same at the Higher Institute of Art of Havana (ISA), where he graduated with a Degree de Oro, during his student years he always stood out for his active participation in groups of different formats, from duos to septets; Later, he had the opportunity to participate in the 2001 Mujer International Guitar Festival in Costa Rica, where he performed with the Plectro trio, made up of guitar, tres and lute.

He joined the Anacaona group, starting in September 2006 with his tres to enrich the musical spectrum of the group and after a year (January 2007) he joined the Los Galanes quintet simultaneously, under the musical direction of Armando Vidal , vocalist of said group, with whom he performs a musical work based on traditional Cuban music.

In 2008 he recorded with the quintet the album Suena por mi Cuba with the Egrem label, and later with a small format of the Anacaona group, he recorded in 2008 the musical theme “Parampampan”, for the filmmaker’s musical film Chico y Rita Spanish Fernando Trueba; and after a year (2009) he participated with the Anacaona group in an artistic tour in Canada and also attended different jazz festivals and “World Music”, including the third edition of the Aruba Jazz Festival.

As of 2010 Yamira together with the Anacaona group, on their tour to Curacao they presented the show “Viva Cuba”, with the purpose of raising funds for the fight against breast cancer, organized by the Sinte Rose Foundation of said country. This tour brings the Aruba International Film Festival to a close.

Yamira Blanco in the music studio — Photo of Yamira Blanco posing at the piano

Later they resumed their participation with the Anacaona Orchestra in the Santa Lucía Jazz Festival in 2011, being its 20th edition, where they were together with leading jazz players from the international arena, shining for their improvisations on the different themes that they performed with the orchestra. both on the tres and on the guitar.

In 2012 they celebrated their 80th anniversary of this musical institution, making an extensive tour throughout the country in addition to multiple radio and television programs and in August they performed with the group at the PDVSA salsa festival. , in Venezuela, alternating with salsa groups from that country.

They began to record the album De Cuba soy, in 2013 under the Colibrí label, a phonogram dedicated to celebrating the eight decades of artistic life of the Anacaona group, then Yamira assumed the direction of the Quinteto Los Galanes, being appointed by its vocalist and founder, who decides to retire, so she poses new challenges in the music that is the inspiration of this young and talented Cuban tresera.

In 2015:

I participated in the documentary Mix The World by Grammy nominated filmmakers Alex Elena and Steve’s Baughman.
Son Latino, a music septet that he has directed since 2015, is made up of a format of three, guitar, double bass, bongos, tumbadora, singer, trumpet and minor percussion.
Works multiple genres such as son, song, cha cha cha, bolero, rumba, guaracha, bachata, merengue and the interpretation of current Cuban timba, starting from its purely traditional format.
It is a group that seeks to defend Cuban popular music from more contemporary harmonic and rhythmic sounds, with good taste and a high aesthetic sense in creation, seeking its own stamp with auditory and visual identity.

In 2020 Yarima Blanco becomes a Soundwear artist and records with several guests the CD Pa mi tres, a co-production between the Recording Company and Musical Editions, Egrem, and Soundwear Production that will have its presentation and launch in 2021.

The phonogram is a journey through the sounds of Cuban and Caribbean popular music based on 12 unpublished songs where the authorship of Yarima herself, the Puerto Rican Tomás Pérez and the Cubans Yunior Molina, César Lozada and Juan Antonio Gil stand out.

With musical production by the hand of the Latin Grammy award Roniel Alfonso Mella, they participate as special guests in several of the songs on the album: maestro Pancho Amat, Alain Pérez, Kelvis Ochoa, Rolando Luna, Bárbara Zamora, singer from Anacaona, among other important Cuban musicians.

Now if you want to know the exact list of the different activities that he carried out throughout his musical career, you can see them here:

Participation in Festivals:		Discography
2001	International Woman Guitar Festival, Costa Rica	2006	Cuba le canta a Serrat vol. 2, discography –Discmedi
2009	Aruba Jazz Festival	2007	No lo puedo Evitar, Anacaona -Bis Music
2009	Canadian Jazz Festivals	2008	Suena por mi Cuba– Quinteto “Los Galanes” – EGREM
2009	La Nuits D’Afrique Festival in Montreal Canada	2008	“Parampampan” – tema para el Largometraje Chico y Rita
2010	Aruba International Film Festival	2013	De Cuba soy – Anacaona – Colibrí
2011	20th edition of the Santa Lucia Jazz festival	2019	Lágrimas de la cantante Cassandra Nuñez –Egrem
2012	PDVSA Salsa Festival, Venezuela	2020	Pa mi tres, Egrem – Soundwear Production
2019	Salsa Festival in Bogotá Colombia Park
2020	Jazz Plaza Cuba Festival. Collaboration with Dominican-American Cassandra Núñez.
2020	Concerts and show in tribute to the bolero and its relationship between Mexico and Cuba, Mexico City, under the direction and musical production of Rosario Castro.

If you want to contact this great artist:

Contacto: https://www.facebook.com/yarima.blanco.79
Email: [email protected]