Search Results for: Trumpet and Percussion

Tito Rodríguez, Jr. “The Palladium legacy lives on”

Timbalero, Arranger, Composer, Producer and Band Director, Tito Rodriguez, Jr. is one of the most important timbaleros of Salsa and Tropical Music as well as being one of the heirs of the mambo.

I had previously listened to, analyzed and shared my impressions about Transición (2017), by Tito Rodríguez, Jr. In conversation with Tito himself, he confirmed that Transición is his fourth album and the first to carry a Spanish-language title. We are doing well, Tito. This album was preceded by:

Curious?

Un clásico de 1978, originalmente en el sello TR de su padre. Con Sal Cuevas, Cachete, Ruben Figueroa, Gilberto Colon, un joven José Alberto El Canario en la voz - y una sección de coro con Adalberto Santiago y Ruben Blades. Vaya. ¿Curioso? ha sido una de las reediciones más solicitadas de la línea TR y los arreglos y el groove demuestran claramente por qué — Curious? (1975), featuring Adalberto Santiago, José Alberto “El Canario” and Rubén Blades.

Eclipse (1994) y

A classic! In the summer of '94, the Eclipse cuts and the infectious Erotic Woman. — A classic! In the summer of ’94, the Eclipse cuts and the infectious Erotic Woman.

The Big Three Palladium Orchestra live at the Blue Note (2004).

“The Big 3 Palladium Orchestra already may rank as the most brilliant large Latin jazz ensemble this side of Havana.”

The idea of bringing together the three great orchestras of the Palladium was Machito, Jr.’s, whom I will be approaching soon.

Promise is a promise, so here I am to elaborate a bit on what I left out of the previous report.

Why the title Transition?

For much of his productive life, Tito has held a conventional job so music has been his part-time love. Well, we should clarify what this so-called “part-time” has meant for Tito because even part-time, from 1994 to 1999 his orchestra was performing once a month at the world famous Copacabana in New York City. On the other hand, The Big Three Palladium Orchestra live at the Blue Note secured him a promotional tour – through Brian Theobald of BPR Music – that lasted a whopping eleven years.

Well, now it looks like Tito is getting ready to hit the stages that have been waiting for him so long. So get ready, what is coming is not from friends. I wonder if the title track Volver had something to do with Tito’s dream of surrendering to his first love: music.

Tito has been consistent in following the musical line of his progenitor’s orchestra although he has managed to modernize the baseline, adding his own forceful stamp. That is why the musical line of Tito Rodriguez, Jr.’s big orchestra is more modern without straying from the classical foundation.

Reading several articles, I stumbled upon one by Robin Denselow published in 2010 for the international newspaper The Guardian. My chest swells with Puerto Rican pride when I review the legacy left by the “Mambo Kings”: Machito, Puente and Rodriguez, those 3 bandleaders who transformed the American music scene. The Palladium located on Broadway and West 53rd Street no longer offers mambo, chacha or rumba but the musical legacy of the mambo kings remains more alive than ever. According to Denselow, when that Palladium Orchestra took the stage with a brass section it was Tito Rodriguez, Jr. who first led that historic reunion. According to the British view Rodriguez, Jr. lovingly revived his father’s compositions while showing off his percussion skills.

This was just the hors d’oeuvre for when Larry Harlow arrived to raise the bar even higher. Of course, having the luxury of having the pianist hero of not only the mambo kings but also the Fania All-Stars was no small feat for these virtuous offspring. Perhaps they are the offspring of the most influential trio in Latin music.

Back to Borinquen: In 2009 Tito Rodriguez, Jr. was in Puerto Rico fulfilling one of his musical dreams. With that dream in his suitcase, Tito, Jr. arrived behind his timbal to lead a very large orchestra.

Once on Puerto Rican soil, they joined that dream: Luis Nazario “Güiriche” on conga, Paquito Corselles on bass, Luisito Marín on piano, Pablo “El Indio” Rosario on bongo; Emilio Reales, Darío Morales, Simón Rivera and Edwin González on trumpets; Rafy Ruiz and Al Schnitzler on alto saxophone; Nelson Vega and Wilfredo de la Torre on tenor saxophone plus Angel “Chiqui” Vidal on baritone saxophone.

On vocals, Josué Rosado was backed by José Miranda and Juan Manuel Lebrón on backing vocals.

On that occasion, the orchestra performed in the Chucho Avellanet Show, at the gala of the Puerto Rico Chamber of Commerce, at the Yagüez Theater in Mayagüez with the special participation of Chucho Avellanet.

The show that closed the tour in Puerto Rico took place at the Science Park in Bayamón. It is worth mentioning that Al Schnitzler and Emilio Reales were musicians in Tito Rodríguez’s orchestra in the 1960s.

Searching through the archives I think I fell for the performance of El Mulato Rumbero.

Although Tito, Jr. has not insisted on the label of being the son of the great vocalist Tito Rodriguez, it is not possible to escape the good shadow of being the son of a Puerto Rican glory who, almost fifty years after his death, is still a topic of conversation in musical circles.

WedSite: Tito Rodriguez, Jr.

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

Puerto Rico

WebSite: Bella Martinez

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Celso Clemente Torres is considered one of the best sounding bongos in the world.

Percussionist Celso Clemente Torres, was born on January 31, 1965 in San Juan, Puerto Rico his childhood and under the guidance of his father, Celso Clemente Sr., the young man was introduced to the world of music in 1973.

At the age of nine, he made his first big band performance at the Roberto Clemente Coliseum in Puerto Rico alongside Giovanni Hidalgo with the Roberto Roena Orchestra.

When he was twelve years old, he participated in his first recording called “Borinquen All-Stars” with the great Puerto Rican trumpet player and band leader Mr. Elias Lopez (R.I.P) with the great Gentleman of Salsa Gilberto Santa Rosa, he was the lead singer of that important project.

At the age of nine, he made his first presentation with a big band at the Roberto Clemente Coliseum in Puerto Rico alongside Giovanni Hidalgo with the Roberto Roena Orchestra. — Celso Clemente Torres is considered one of the best sounding bongos in the world.

He has been a percussionist for 40 years. Clemente has mastered the following instruments; bongo, conga, timbal and minor percussion.

With all these instruments he has had the opportunity to be part of countless recordings in the tropical genre which have served as inspiration for new exponents of the genre.

Due to his vast experience in percussion he has been able to spread his knowledge, offering percussion workshops to different groups (children, youth and adults) with excellent results. This has led him to create his own line of bongo bells and timpani sticks with his name.

He has had the opportunity to work in big stages such as; Madison Square Garden, House Of Blues, Coliseo de Puerto Rico “José Miguel Agrelot” Centro De Bellas Artes, among others. He worked in these orchestras; Roberto Angleró, Moliendo Vidrio, Tommy Olivencia, Tony Vega, Tito Rojas with this work 27 years, of which he directed his orchestra in Puerto Rico and outside the Island for 20 years.

With all these instruments he has had the opportunity to be part of countless recordings in the tropical genre, which have served as inspiration for new exponents of the genre. — He has been a percussionist for 40 years. Clemente masters the following instruments; bongo, conga, timbal and minor percussion

He has recorded with Roberto Angleró, Tommy Olivencia, Tony Vega, Tito Rojas, Gilberto Santa Rosa, Willie Rosario, Bobby Valentin, José Alberto “El Canario”, Rey Ruiz, Willie González, Frankie Ruiz, Puerto Rico All Star, Yan Collazo, Bomplenea, Plenarium among others.

He has also had the opportunity to be music producer, “Rompiendo Barreras” with Mario Feliciano, “Independiente” Tito Rojas, “Ritmo Caliente” with Bomplenea by Gary Vera, “Rompe La Rutina” by Del Gonzalez, “Te mando un beso” with Plenarium by Capitol Clemente.

He has also had the opportunity to be a music producer, "Rompiendo Barreras" with Mario Feliciano, "Independiente" Tito Rojas, "Ritmo Caliente" with Gary Vera's Bomplenea, "Rompe La Rutina" by Del Gonzalez, "Te mando un beso" with Plenarium by Capitol Clemente. — Jimmie Morales (R.I.P.), Porfi Baloa and Celso Clemente

He is an endouser of the Pearl Musical Instrument Company also in the line of cymbals “Soultone Cymbals”.

Celso Clemente is considered one of the best sounding bongos, which caught the attention of many record producers. Celso is probably the most recorded bongos player in the history of Puerto Rican salsa discography with more than 220 credited recordings.

The list of salsa legends Celso has recorded with is too long to list.

Celso is currently the timbalero and leader of the band of the famous salsero Tito Rojas (R.I.P) where he toured all over the world.

Celso is probably the most recorded bongo player in the history of Puerto Rican salsa discography with more than 220 accredited recordings. — Celso Clemente & Tito Rojas (R.I.P)

He offers Percussion Workshops to; children, youth and adults, both in person and online, based on his extensive musical experience, which is more than 42 years in the tropical genre (Salsa), bomba and plena.

Facebook: Celso Clemente Talleres De Percusión

Contact in Puerto Rico: +1 787-429-9971

Email: [email protected]

Source: Pearl Musical Instrument Company https://pearldrum.com/eu/artist/celso-clemente

By: Diana Marie International Salsa Magazine Correspondent

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Luis “Perico” Ortiz Considered one of the most important exponents of Tropical Music worldwide.

” The Astro ” He is still among Friends

Puerto Rican trumpet player, composer, arranger and producer boricua, obligatory reference of the Puerto Rican and Latin music of the last three decades of the 20th century.

He has cultivated the most diverse styles, from Salsa, through Jazz, to Pop and Bolero. He is considered one of the most important exponents of Tropical Music worldwide.

Luis Esteban Ortiz Ruiz, better known as Luis “Perico” Ortiz, was born on December 26, 1949 in Santurce, Puerto Rico. “Perico” was born into the extreme poverty that housed so many families on the Island of Enchantment.

His love for music fueled his dreams, although without imagining the idol he would become, an artist who this year celebrates 55 YEARS of a fruitful career that led him to travel the world and push for more stars.

Perico Ortiz was a true child prodigy, whose vocation for music was awakened at the early age of five. He was trained at the Escuela Libre de Música and later at the San Juan Conservatory, later joining the Puerto Rico Symphony Orchestra under the direction of Pau Casals before he was 20 years old.

In 1970 he moved to New York, where he began his professional career working with the groups of Tito Puente, Mongo Santamaría, Machito and the legendary David Bowie among others, and was a regular collaborator of the Fania All-Star machine, the project of artists that popularized urban salsa around the world and collaborated with the companies Velvet of Venezuela and TH Rodven.

In 1977 he made his first solo recording under the Turnstyle label, a subsidiary of Latin Percussion Corp. A year later he established his own orchestra and won the “Diplo” award for best trumpet player in Puerto Rico.

Elsewhere, in New York, “EL ASTRO” was awarded “Trumpeter of the Year, “Arranger of the Year”, “Best Orchestra” and “Musician of the Year” during the Latin New York Magazine Awards held in the Big Apple.

Luis "Perico" Ortiz Considered one of the most important exponents of Tropical Music worldwide. — He is still among Friends
” The Astro “

The musician, born in Santurce, Puerto Rico, established numerous musical companies such as Sunrise Productions, Perico Records, Dialen Promotions Inc. and Dialen Recording Studios. Also

Dialen Publisher, founded a publishing house with licenses in the U.S., Europe and Japan.

In 1981 he was recognized by the Asociación de Cronistas de Espectáculos (ACE) as the best exponent of Latin music, an honor he shared with Julio Iglesias. In the following year he received another recognition from the ACE as Best Orchestra in New York.

In the summer of 1987 he wrote and conducted the soundtrack for the movie “Mondo New York” in collaboration with maestro Johnny Pacheco.

Through his orchestra passed the voices of Rafael De Jesús, Billy Carrión, Domingo Quiñones and Roberto Lugo, although it was with the latter two with whom he reaped the greatest triumphs of his extensive discography: Sabroso, Sabor tropical, In Tradition and El Isleño.

In 1988 he created his own production and recording company: Dialen Promotions, later Luis Perico Ortiz Productions, dedicated mainly to radio and television advertising. That same year he produced and arranged Barry Manilow’s Hey Mambo album.

Luis also worked in the advertising area producing, composing and arranging musical spots for radio and television commercials. In this aspect he did productions for commercial firms Heublein Spirit Group (Smirnoff Account), Castor Advertising (Mc Donalds), Uniworld Advertising (Kodak), Max Mambrú Films, Blaze Productions, John Casablancas/Elite Modeling (Film Scoring & Music Composition/72 minutes), Polaroid, HBO, Canal 47 (TV campaign “Contigo Siempre”), among others.

Perico Ortiz was a true child prodigy, whose vocation for music was awakened at the early age of five. He was trained at the Escuela Libre de Música and later at the San Juan Conservatory, later joining the Puerto Rico Symphony Orchestra under the direction of Pau Casals before he was 20 years old. — Luis Perico Ortiz

In 1993 he moved to Puerto Rico where he established his new company, Luis Perico Ortiz Productions, Inc. with which he began professional production relationships with Disney, Buena Vista Television, There Goes The Neighborhood and Quincy Jones Office.

For Disney Corporation he produces part of the music for the television special “Christmas in the Americas”. For the Quincy Jones Office he produced segments for the historic “Summit of the Americas” event for 34 presidents and dignitaries of the hemisphere. Both projects were televised to hundreds of countries simultaneously.

In 1995 he toured Colombia to promote the RMM label project, “The Perfect Combination”, performing in four concerts in front of more than 250,000 people who applauded him.

Later he opened with his Latin jazz group the “Puerto Rico Heineken Jazz Fest ’95” and presented lectures, workshops and Latin jazz concerts in Aruba during its Carnival.

In February 1996 he traveled to Europe to perform in concert. A month later he arrived in Venezuela to perform in two concerts at the Poliedro. He produced a new recording for the RMM label, entitled “Café con leche y dos de azúcar”, and inaugurated his new orchestra on National Salsa Day, March 10, 1996 in front of an audience of more than 25,000 Salsa lovers.

In 1997 he produced for a Japanese record label “Sweet Basil”; a project featuring Yoshihito Fukumoto, former member of the famous Japanese orchestra La Luz, in a recording with ingredients of Latin jazz, R&B, salsa, rap, pop ballad and Brazilian rhythms.

He also produces for the Toshiba-EMI Limited label of Japan the compact disc “Bésame mucho” and for Sony of Puerto Rico “El cuarto Rey Mago”, a Christmas project by singer-songwriter José Nogueras for the multinational.

In 1998 he performs at Bellas Artes as guest artist of Lucecita Benítez. In the same way, he produces maestro Tommy Olivencia for the Polygram label and performs with his great friend, sonero Domingo Quiñones, in a series of concerts at Bellas Artes.

As the end of the century approaches, he releases an instrumental CD with bolero, cha-cha-chá, jazz/pop and salsa songs, entitled “Emociones”. It includes his versions of classics such as “Perfume de gardenia”, “Usted”, “Sin fe”, “Tu pañuelo”, “Silencio” and the Christian hymn “Cuán grande es él”.

With this release, Perico completes a discography that includes some twenty titles among which are “My Own Image”, “Super Salsa”, “One Of A Kind”, “El Astro”, “Sabroso”, “Sabor tropical”, “El isleño”, “Entre amigos”, “La vida en broma”, “In Tradition”, “Breaking The Rules”, “Vuelvo otra vez”, “At Valley Cottage”, “Acaban con tó”, “The Man, His Trumpet and His Music. .Are Back”, “La combinación perfecta”, “Café con leche y dos de azúcar” and “Luis Perico Ortiz – Éxitos Volumen I”.

Among other awards and recognitions, Perico Ortiz was named Best Salsa Performer in 1981 and Best New York Orchestra in 1982 by the Asociación de Cronistas de Espectáculos (ACE).

When he was just 10 years old Ismael Rivera was spying on him from a fence (HINT: THIS WORD COULD BE PUT IN ITS MEANING OR ASSOCIATION BECAUSE IT IS NOT A COMMON WORD FOR ALL COUNTRIES) near his rehearsal place in Tras Talleres. He approached him one day and baptized him “Perico” repeating with the battered trumpet he was assigned at the then fledgling Escuela Libre de Música de San Juan the notes of “Quítate de la vía Perico”, a song that would remain engraved in the history of popular music, and in his own.

“He told me, ‘They’re not going to call you Luis Esteban, they’re going to call you Luis Perico Ortiz and you’re going to be great,” he recalled of the second great memory of his musical beginnings. The first was in his home.

Chronological events of more and important interest:

1970-1976, works as a trumpet player, arranger, composer and producer for; Tito Puente, Machito, Mongo Santamaría, Tito Rodríguez, Fania All Stars (and all their artists), Velvet De Venezuela, TH Rodven and Johnny Pacheco.

1977, makes his first recording as a soloist under the Turnstyle label (subsidiary of Latin Percussion Corp.).

1978-80 establishes his orchestra. Wins “Diplo” trophy as best trumpet player in Puerto Rico. In New York during the Latin New York Magazine Awards in 1978 he is awarded the following trophies; Trumpeter Of The Year, Arranger Of The Year, Best Orchestra Of The Year and Musician Of The Year.

1981-87, recognition granted in 1981 by the Asociación De Cronistas De Espectáculos {ACE} as the best Salsa/Caribbean Music interpreter, which he shared with Julio Iglesias.

In 1982 he received another recognition by ACE as Best Orchestra of New York. During the summer of 1987 he writes and directs the Score for the movie “Mondo New York” in collaboration with maestro Johnny Pacheco.

1988-93, during 1988 produces, arranges and conducts Barry Manilow. Hey Mambo” project. In 1988 opens his own production company, Dialen Promotions Inc.

It is the first Puerto Rican company to offer multiple services in the area of production and recording with its own Analog/Midi recording studios.

Through his involvement with his company, Luis is involved in the advertising area producing, composing, sound engineering and arranging jingles for Radio and Television as well as Videos and Film Scoring.

Some of his accounts were: Heublein Spirit Group (Smirnoff Account), Castor Advertising (McDonalds), Uniworld Advertising (Kodak), Max Mambru Films, Blaze Productions, Johnn Casablanca/Elite Modeling (Film Scoring & Music Composition/72 minutes), Polaroid, HBO, Channel 47 Television Campaign-“Contigo Siempre” and many more.

1993, returns to his homeland, Puerto Rico, and immediately establishes his new company, Luis Perico Ortiz Productions Inc.

1994, establishes production relationships with Disney Corp, Buena Vista Television (California), There Goes The Neighborhood and Quincy Jones Office. For Disney Corp.

Produces part of the music for the television special “Navidad En Las Americas”. For the Quincy Jones Office, he produced segments for the historic “Summit of the Americas” event for 34 presidents and dignitaries of the Western Hemisphere. These projects were televised to hundreds of countries simultaneously.

1995, performs Artistic Tour of Colombia (RMM “The Perfect Combination”) where he performed a total of four concerts to over 250,000 people.

Opens with his Jazz-Latino group the “Puerto Rico Heineken Jazz Fest ’95. Will make his next recording (Salsa) with his orchestra at the end of 1995.

1996, presents lectures, workshops and Latin Jazz concert in Aruba during its Carnival, February goes to Europe for concert, in March will perform in Venezuela for two concerts at the Poliedro, produces his latest production “Café Con Leche Y Dos De Azúcar” under RMM Records & Video Corp, inaugurates his new Orchestra at the National Salsa Day, March 10, 1996 in front of an audience of 25,000 Salsa lovers.

1997, produces for the Japanese label Sweet Basil an American project (Latin Jazz, R&B, Salsa, Rap, Brazilian Music, Pop Ballad). Artist: Yoshihito Fukumoto (Former musician of the famous Japanese orchestra “La Luz”).

Establishes a new recording division within his company {LPO Productions Inc.}. It is identified as “Suave Instrumental”.

As his first work he releases his first compilation of hits (Luis Perico Ortiz EXITOS volume 1) with the voices of Roberto Lugo, Billy Carrión and Domingo Quiñones.

Produces for Toshiba-EMI Limited (Japan) a CD. Title: “Bésame Mucho”. Produces for Sony José Nogueras (Proyecto Navideño 1997).

1998, performs at Bellas Artes as guest artist for Lucesita Benítez. Produces the master Tommy Olivencia for the PolyGram label.

Performs with his great friend Domingo Quiñones in a series of concerts in Bellas Artes, produces an instrumental CD containing songs of the Bolero, Cha-Cha, Jazz-Pop and Salsa genre, the CD is titled “EMOCIONES”.

Concert and reunion of all its main singers at the Luis Muñoz Marín Amphitheater during the Bacardi World Salsa Fest ’98.

In the year 1999 during the month of January “Perico” visited his second homeland, Panama, where he had the opportunity to perform a concert with the pleasant company of Panamanian musicians and Roberto Lugo on vocals. Exquisite! During the month of March he performed with Arturo Sandoval in a regal concert, it was the first presentation of both of them in Panama.

It was the first presentation of both in Puerto Rico, because they had already performed together in the United States and Europe (NorthSea Jazz Festival * Holland).

In the month of May he performed in the Tributo Histórico a Héctor Lavoe as a guest artist.

“Perico” begins his move from secular music to Christian music serving the Lord, establishes himself as Musical Director of the Levittown Church of the Nazarene in January, establishes the foundation and direction of the Harmony School of Music, opened his recording studio (SUAVE Recording Studio) for the development of his record label “Suave Instrumental” and to attend the needs of other Christian record companies in relation to external productions.

2000, during the beginning of the year Perico further strengthened his commitment with Harmony School Of Music, he released four (4) of his catalog recordings in digital format, they are: Sabroso, Sabor Tropical, El Isleño, In Tradition, with the voices of Domingo Quiñones and Roberto Lugo.

In addiction he released his first solo album, My Own Image originally under the Turnstyle Records label, to Martin Cohen company (Latin Percussion) in digital format.

Perico has just finished his most recent production with guests such as: Domingo Quiñones, Bobby Valentín, Papo Lucca, Cachete Maldonado, Endel Dueño, Elías Lopés, Rafi Torres and much more,the project titled Jamming and released under the AJ RECORDS label.

One of the most important moments in his life was the birth of his first granddaughter ISABEL ANNA, born March 31-2000.

2001, Perico currently serves as Producer and A&R Director for AJ Records (sister company of Casa De Los Tapes), he just finished the production of Tommy Olivencia 40th Anniversary/LIVE.

New projects to be finalized: Ray Barreto {50 Aniversario} & La Ganga. Perico receives for the production Jamming a nomination for the TU MÚSICA awards. He has just produced two (2) productions for the territory of Japan. The artist is Rie Akagi and the genre is JAZZ.

2002, wins the TU MÚSICA award for best Christmas production. Produces “RAY BARRETO LIVE-50 Aniversario”, “Lunna Bohemia”, Los 100 Años de Andy Montañez en Vivo from the Bellas Artes in Santurce, Rie Akagi (Japan) & a music score for a Japanese cartoon.

2003, produces the “Puerto Rican Masters” for TV special and DVD.

2004, produces the first Salsa Gospel Festival, serves as music producer of the show and music producer of the DVD, cultivates his duties as a teacher for the Conservatory of Music in the area of the first Bachelor of Jazz and Caribbean music.

He teaches a Latin Jazz Combo course and a Master Class for the development of musical language, self-esteem, form, analysis, composition and interpretation.

Produces the tribute show to Marvin Santiago before his death. Also produced the DVD, the artists produced were the Puerto Rican Masters, Domingo Quiñones, Oscar De León, Victoria Sanabria, Prodigio & Andy Montañez among others.

Musical production of Objetivo Fama Christmas show & Christmas CD-DVD of the group for UNIVERSAL MUSIC.

2005, produces, arranges and composes the soundtrack for Jacobo Morales’ most recent TV film, “Pa’ Eso Estamos”.

He also produces the CD-DVD of the film achieving an exquisite and aggressive Sound Track work.

For the second consecutive year he is designated as one of the musical producers of the long awaited Christmas work of Banco Popular. He is selected by the program HUELLAS MUSICALES to make a retrospective of his musical contribution.

2006, currently very active with the development of the Jazz and Caribbean Music Department of the Conservatory of Music of Puerto Rico.

Visits Columbia College in Chicago to give Master Classes and concerts with Jon Faddis, Eddie Gómez and the faculty of the Puerto Rico Conservatory of Music.

Travels to France to participate in the Toros & Salsa Festival in Dax during the month of September 9-11. Produces flutist Rie Akagi for Japan.

2007, Perico is officially appointed as Artist in Residence by the Conservatory of Music of Puerto Rico for the department of Jazz and Caribbean Music, along with the same position are exercising the Masters Eddie Gomez and David Sanchez.

March 18 begins the world tour with his Salsa orchestra, his original singers Rafael De Jesus and Roberto Lugo, his Latin Jazz Big Band and his Latin Jazz Combo, as an important part of his tour, in addition he will be giving Master Classes to Universities and Colleges to work closely with the future musicians of our genre… Latin Music.

2008 Maestro Luis Perico Ortiz is invited to be the Keynote Speaker during the Forty-Fifth Graduation exercises of the Conservatory of Music of Puerto Rico.

A great honor for “Perico” since he is a former student and his dream was to see Latin music and Jazz studied at the Conservatory. If Pablo Casals could see it….

In addition, Maestro Perico is commissioned by the Autonomous Municipality of Carolina to be the Musical Advisor and Artistic Director of the new PLAZA GIGANTE DE LA MÚSICA to be inaugurated on June 28, 2008 and the International Jazz Festival of Carolina 2008 to be held on August 15 & 16, 2008.

2009, he is invited to be the Musical Advisor of the Carolina School of Fine Arts, in addition he works professionally as Artistic Director of Special Events for the Municipality, he visited for the first time the country of Peru where he performed at the acclaimed festival Chimpum Callao in front of an audience of 42,000 people.

2010, this year is emblematic for Luis as he celebrates his 50th anniversary in music. In January he was honored during the 40th Anniversary of San Sebastian Street with the San Sebastian Award for his achievements along with Roberto Roena.

He visited the Lehman College in New York where he performed in concert with Rafael De Jesus and Roberto Lugo.

Produced and directed the 6th Carolina International Jazz Festival. Performed with Paquito D’ Rivera, Mario Grillo, Tito Puente Jr., Tito Rodriguez and Gilberto Santa Rosa.

In November he visits New Mexico for the first time invited as Guest Artist of the New Mexico Symphony Orchestra, he was invited by Dr. Mariano Morales, in addition he performed with Mariano’s group for a Jazz concert and a Master Class at the University of New Mexico, a historic event.

2011, Luis Perico Ortiz serves as coordinator of the 3rd Bolero Festival in Carolina, Puerto Rico. Guest artists throughout the two days of activities during the month of April were Lourdes Robles, Nydia Caro, Elías Lopés, Braulio, Lilly y su Gran Trio & Trio Los Condes.

During the month of August, Luis becomes the Artistic & Musical Director of the 7th Carolina International Jazz Festival.

The festival is dedicated to the PIANO. The invited artists were Mariano Morales, Luis Marín, Ángel David Mattos, Yan Carlos Artime & Michel Camilo.

Luis performs the second day of the festival with his Big Band and a group of great artists as guests of his orchestra.

December 2 Luis performs as Artistic & Musical Director for the long awaited Carolina Christmas lighting. Artists of the stature of Tony Vega, NG2, Pedrito Guzman, Juan Velez and El Gran Combo de Puerto Rico share with his orchestra a historic evening at Christmas in Carolina.

On December 23rd after almost a year of arduous musical creative work, Luis was the composer (11 songs), arranger (9 songs) and Artistic & Musical Director of the most important concert of his career, the Inaugural Concert of the Carolina Children’s Museum, He conducted a Symphony Orchestra (43 teachers) with a Chorale of 30 voices (youth and children) and a corps de ballet of a total of 56 dancers from the School of Fine Arts (Chorale and Dancers), he had the collaboration of teachers Cucco Peña (3 arrangements & 1 composition) & Frankie Suárez (1 arrangement).

2012, served as coordinator of the 4th Bolero Festival of Carolina, Puerto Rico, the artists invited throughout the two days of activities during the month of April were: Escuela de Bellas Artes de Carolina, Tato Díaz & Dream Team Trio, Las Divas Del Bolero: Mayra Mayra, Jaqueline Capó & Awilda, Paquito Guzmán, Carmín Vega, Orquesta de Elías Lopés, Ramoncito Rodríguez y Los Andinos, Pijuan y Los Baby Bommer Boys, Chucho Avellanet &Lissette.

In August he becomes the Musical Artistic Director of the 8th Carolina International Jazz Festival with the special participation of Arturo Sandoval.

In December, as usual, he returns to produce for Carolina the long awaited Christmas Lighting. The artists were; Ebac, Plenealo, Luis Perico Ortiz Orchestra, Ismael Miranda, Moncho Rivera, Claudio Prodigio, Henry Santiago, Henry Santiago, and many others.

Special artist Victor Manuelle

2013, after 6 years of recording absence, Maestro Luis Perico Ortiz makes one of the most ambitious and complex productions of his career, inviting a handful of friends he makes TIEMPO DE AMAR, collaborating with Luis, Ruben Blades, Andy Montañez, Alex De Castro, Jose Juan Hernandez, NG2, Victoria Sanabria, Ismael Miranda, Jose Nogueras, Danny Rivera, Prodigio Claudio, Giovanni Hidalgo, Rie Akagi and the Ernesto Ramos Antonini APPAOS Symphony Orchestra, also a battalion of the best musicians from Puerto Rico, Venezuela and Cuba, 8 recording studios (Puerto Rico, United States and Japan) represented by excellent engineers perform the recording of this epic work, composers: Luis Perico Ortiz, José Nogueras, Victoria Sanabria, Juan José Hernández, Yan Carlos Artime, Prodigio Claudio and Luciano Quiñones, arrangers: Luis Perico Ortiz, Iván Rodríguez and Luis García.

A dream come true, the sale of this epic was donated in its entirety for the benefit of children with cancer through the San Jorge Children’s Foundation. The production took nearly a year to complete.

Luis Perico Ortiz serves as coordinator of the 5th Carolina Bolero Festival in Puerto Rico.

The artists invited during the two days of activities during the month of April were: Escuela de Bellas Artes de Carolina, Máximo Torres, Iris Chacón, Lalo Rodríguez, Pete Bonet, Rafael José, Meñique and the Orquesta de Elías Lopés.

In August produces the 9th Carolina International Jazz Festival with the participation of: bEscuela De Bellas Artes de Carolina, Alex Ayala Trio,

Edwin Clemente 3D ZONE, David “Piro” Rodríguez, Justo Almario,

Luis Perico Ortiz Latin Jazz Big Band and guests.

In November he travels to Venezuela for two Jazz (Big Band) concerts as special guest of the famous Venezuelan trumpet player Yturvides Vilchez.

He returns in December to produce the Christmas 2013 Christmas Lit with the participation of EBAC, Barreto y su Plena y su Orquesta with his guests: Papo Sánchez, Pedro Brull, Domingo Quiñones and Victoria Sanabria, in addition the closing was in charge of Joseph Fonseca.

2014-2020, “Perico” continues as advisor and Artistic Director of Special Events for the municipality of Carolina.

Discography of Luis “Perico” Ortiz

My Own Image, Sello Disquero Tunstyle
Super Salsa, Sello Disquero New Generation
One Of A Kind, Sello Disquero New Generation (GOLD)
El Astro, Sello Disquero New Generation
Sabroso, Sello Disquero Perico Records #320 (GOLD)
Sabor Tropical, Sello Disquero Perico Records #330
El Isleño Sello Disquero Perico Records #340
Entre Amigos, Sello Disquero Collector Series #527
La Vida En Broma, Sello Disquero Perico Records #350
In Tradition, Sello Disquero Perico Records #360
Breaking The Rules, Sello Disquero Perico Records #370
Vuelvo Otra Vez, Sello Disquero DPI Records #400
At Valley Cottage, Sello Disquero Polystar (Japan)
The man, his trumpet and his music are back, Sello Disquero DPI Records #410
La Combinación Perfecta, Sello Disquero RMM-SONY (Artista Invitado y Arreglista) (Platinum Sales Award)
Café Con Leche Y Dos De Azúcar, Sello Disquero RMM Records & Video Lanzamiento Mayo 1996
Luis Perico Ortiz Éxitos Volumen 1, Sello Disquero Suave Instrumental # 197
Emociones, Sello Disquero Suave Instrumental # 198
Luis Perico Ortiz Éxitos Volumen 2, Sello Disquero Suave instrumental # 1982
Jamming, Sello Disquero AJ Records
Déjalo Entrar (artistas invitados, Alex De Castro, Domingo Quiñones y Roberto Lugo), Sello Disquero Suave Instrumental
Cristo Esta En Victoria, Sello Disquero Suave 2507
Tiempo De Amar (2013) Suave 6388

Luis Perico Ortiz is considered one of the most important exponents of Tropical Music worldwide.

Companies

Dialen Publisher

Dialen Promotions

LPO Events. P. S. C.

Address

San Juan Valley

Plaza Bohío SJ 19

Trujillo Alto, Puerto Rico. 00976

Contacts:
(787) 602-0048

www.facebook.com/perico59

luis_perico_ortiz_official

Email: [email protected]

[email protected]

https://www.luispericoortiz.com/

Services
Artistic Presentations
Orchestras: Salsa and Latin Jazz (from Combo to Big Band)

Musical Arrangements

Online Classes

Compositions

Trumpet Recording and Recording Producer

Artistic Advisor for Special Events

How to cite this article:

Ruiza, M., Fernández, T. and Tamaro, E. (2004).

Biography of Luis Perico Ortiz.

In Biografías y Vidas.

The online biographical encyclopedia. Barcelona (Spain).

Retrieved from https://www.biografiasyvidas.com/biografia/o/ortiz_luis_perico.htm

El Astro, Sello Disquero New Generation — Luis Perico Ortiz “El Astro”

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The legend of Gon Bops began in 1954 in California, USA.

It remains one of the oldest and most respected Latin instrument makers in the world.

The legend of Gon Bops began in 1954 in California when Mexican-American Mariano Bobadilla (born in Guadalajara), who would become one of the most respected conga makers in the percussion industry, began designing and building conga and bongo drums.

Bobadilla, a band instrument repairman and professional trumpet player, launched Gon Bops in his father’s old wooden garage in a downtown Los Angeles neighborhood.

He chose the name Gon Bops because “Gon” was one of the colloquial expressions of the time, like “everything goes, man,” and “Bops” because his friends nicknamed him Bob, which sounded like “Bop” in the Latin dialect.

Although Bobadilla’s drums remained true to the classic Cuban form, he was a true innovator in the development of drum hardware. He designed the first teardrop-shaped crown with rounded rims, developed to protect the hands of the musicians, a concept that is now universally accepted.

It remains one of the oldest and most respected Latin instrument makers in the world. — The legend of Gon Bops began in 1954 in California, USA.

He also gave birth to the first tunable hardware for congas and bongos in the United States. After seeing how Cuban congueros heated the drums in their kitchens before performing, Bobadilla decided there had to be a simpler and more reliable method for tuning these instruments.

Other innovations of the young company included taroles (wooden timbales), the first pre-assembled replacement heads for congas, chromatic tuned cowbells, and numerous stands, adapters and other accessories.

Gon Bops was very successful in its early days. The instruments were in great demand by the top musicians of the time – giants such as Alex Acuña, Mongo Santamaría, Francisco Aguabella, Armando Peraza, Poncho Sánchez, José Hernández and Rich Barrientos, all of whom contributed invaluable R&D input. Gon Bops quickly became the undisputed leader in Latin percussion instruments and remained so throughout the 50s, 60s and 70s.

Mariano remained deeply committed to a hands-on role in production and retained complete control of the design and manufacture of all his products. As a result, Gon Bops instruments were mainstays on the world’s biggest stages, including the massive Woodstock festival in 1969.

However, the winds of change swept through the American percussion industry. By the time the 1980s arrived, all the major U.S. percussion manufacturers had moved overseas to manufacture their instruments. Cheap Asian labor costs meant higher profits.

But as manufacturing costs declined, so did quality, and for that reason Bobadilla refused to move its production out of the United States. As a result, Gon Bops began to struggle financially. Unable to compete with its larger competitors, Bobadilla had no choice but to close the doors of his beloved company.

Fortunately, that was not to be the end of the Gon Bops brand. In 2001, Don Lombardi of U.S. drum manufacturer DW bought the company along with all its patents and trademarks.

Lombardi had met Bobadilla in 1978, when he used Gon Bops’ Timbale shells to build DW’s brass snares, and had subsequently continued to seek Bobadilla’s R&D advice. It was a great fit, and it was no coincidence that the quality of DW’s drums and hardware continued to grow after the Gon Bops acquisition.

To manage his newly acquired Gon Bops brand, Lombardi hired the best drum craftsmen in the United States. He even purchased San Francisco-based Sol Percussion to recruit its founder, drum builder Akbar Moghaddam, to the Gon Bops cause.

Moghaddam brought with him fellow drummer Octavio Ruiz, and Lombardi teamed them up with Alejandro Perez, a drum builder who had worked with Mariano Bobadilla at the original Gon Bops factory.

In 2010, cymbal manufacturer SABIAN Inc. announced that it had purchased the inventory, intellectual property, patents and manufacturing equipment of Gon Bops from DW.

The deep commitment to innovation that SABIAN applied to its own instruments had inspired founder Robert Zildjian and his son, SABIAN president Andy Zildjian, to seek out like-minded instrument companies available for acquisition. And it just so happened that Lombardi had begun looking for a buyer for Gon Bops.

“We are excited to begin this new chapter in the history of SABIAN and Gon Bops,” Andy Zildjian notes. “Gon Bops instruments are a perfect blend of vintage craftsmanship and innovative thinking. Since its founding in 1954, the company has pioneered several features and enhancements that have forever changed Latin instruments.

We are excited to not only expand distribution, but also to continue to focus on innovative designs that represent clear improvements to meet the needs of musicians.

The pursuit of the best sound is what our craftsmen work for every day. We know that the fit is perfect, above all, because sound matters.”

Today, Gon Bops remains one of the oldest and most respected Latin instrument makers in the world.

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José Madera Niño “Salsa became part of my growth”.

Latinoamerica / Venezuela / Caraca

The also visual artist has the technology to complete his project in the middle of the COVID-19 pandemic.

The Venezuelan José Madera Niño & 3er.Mundo Orchestra launched its new song “Me gusta, pero…” in the voice of guest singer Memo Arroyave, accompanied by a video clip showing the other facet of Madera Niño: painting. This single is the fifth one to be included in his second album Matices.

The musician, composer, and orchestra leader said: “This song of my own was already in post-production when the pandemic was announced. It would not have been possible to complete this project from our homes without technology, the dedication and commitment of Irving Manuel and Jorge Estevez to mixing and mastering, the working hours of Alfredo Montilla for the editing of the video between Venezuela and Colombia“.

José “Flaco” Bermúdez was at the forefront of the musical direction and arrangements. Yomar Méndez “Caballo” (timbal), Arnaldo Guacarán “Patatín” (bongó and bell), Wilman Sánchez Jr. (trumpets), Hugo Olivero (saxophone), José Antonio Padilla (trombone), David González (bass) and Irving Manuel (piano); Rodrigo Mendoza and Eloy Ríos on backing vocals, with José Madera Niño (congas and minor percussion) as executive producer.

Matices combines the voice color diversity of each of the guest soloists thus far such as Pedrito Flores, Irving Manuel, and Charlie Guzman. This salsa album will be composed of ten pieces and shall have the participation of several performers: “We want to present the world with good music, food for the soul and for the spirit in this difficult time we are living“.

MULTIFACETED

La orquesta venezolana José Madera Niño & 3er.Mundo lanzó su nueva canción "Me gusta, pero..." — José Madera Niño “Salsa became part of my growth”.

It should be emphad that José Madera Niño is extremely multifaceted because in addition to be a visual artist as a profession, he is also a musician by conviction: “I have been drawing as far back as I can remember. When I was 14, I entered the School of Plastic Arts Cristóbal Rojas. I alternated my artistic activities with my high school studies and weekends were for the music”.

From there, he became a self-taught percussionist from a very young age thanks to the salsa boom in Venezuela in the mid-70s. This synergy between his two passions led him to form his orchestra: José Madera Niño & 3er Mundo, which flirts with Latin Jazz.

It seeks to extrapolate his plastic compositions to music and then create true works of art for the demanding music lover’s ear and the elegant dancer at the same time.

His first recording De amor, desamor y rumba took four years to come to light, due to the pauses imposed by self-management: “It is not easy to make an album without sound financial support. This first album is a sort of day-in and day-out chronicle of any ordinary individual. Inspired by all the music I listened to in my teens in simple and clear language”.

"It's not easy to make a record without a solid financial backing. This first album is a kind of chronicle of the everyday life of any ordinary person. Inspired by all the music I listened to in my adolescence, with a simple and diaphanous language". — The Venezuelan orchestra José Madera Niño ; 3er.Mundo

Journalist María Fernanda León recently interviewed him about his second CD Matices, consisting of ten musical tracks. He has released four of them on digital platforms from last year to 2020.

-Why the name 3er Mundo?

-The name thing was an irreverent way of saying that in spite of our disadvantages, we are capable of great things from passion, talent, and study. We are much more than a qualification.

-Why salsa and not another genre?

-I listen to all kinds of music. In fact, when deciding to live from it, we get to handle different genres and I enjoy that, but I have a special taste for salsa because it became part of my growth. It was always present in the atmosphere while I was playing in the street in my neighborhood, in high school, and on the bus when I was going to art school.

– Most of the songs are written in your handwriting, what inspires you?

-I was always interested in writing, I had a lot of unfinished ideas. When I began pre-production I dusted off all that material and turned it into songs.

-Why Matices?

– This production is a kind of canvas; music is the pigment, the stuff. The musicians and singers are their nuances. I think it is a different production from the first one, but the same essence.

-You changed your concept of an album with only one performer. Now you invited several of them…

-For me, it was very important to build a sonority for the public to recognize us when listening to one of our songs. Gustavo Gerardo was for a long time the voice that identified us, but it is not easy to hold someone if you cannot guarantee economic stability. Besides, he was already planning to start a career as a soloist, which by the way is already beginning to bear its first fruits at an international level.

-Who is participating?

-In this second production I have Pedrito Flores, who is an excellent singer and inherited this responsibility of being at the forefront of the band in live performances. Besides, I am privileged to have several guest vocalists such as Rodrigo Mendoza, Irving Manuel, Charlie Guzmán, and Memo Arroyave, among others that I will soon announce. All this with the intention of reaching a wider audience. I think such alliances are beneficial for the genre.

-When will all the songs come out of the oven?

-I have been presenting the songs as singles. Every month or every 45 days I make a release until completing the ten songs. Later last year, I have been released four songs. However, the pandemic that affects the entire world delays the production a little bit further, but we continue to work.

– You are an artist. How do you shuttle between your two passions?

-It’s not easy but I think it would be more difficult not to. I’m not very organized so I live in a constant effort to divide my time. I have participated in more than sixty group exhibitions and three solo exhibitions. My work is present in several art galleries and private collections.

-Your son also ventured into salsa last year. What do you think of the support offered to talent today?

-I think the boys are increasingly better prepared to meet the challenges.

The industry has changed and maybe those of us who have years of experience years in the business spend more time assimilating it. Young people know that besides recording on their own, they have to handle the many forms of promotion, know about graphic design, marketing, etc. That is very good because there are no record labels that invest in emerging artists. There are lots of young talent.

-How do you see salsa in Venezuela? Is there sufficient promotion and support?

-There is not sufficient support so I think we cannot wait any longer, we have to conduct ourselves. Work hard toward our dreams, we must learn to use the tools that technology offers us.

-Do you consider your albums a work of art?

– Yes, they consist of the same elements: color, balance, space, and atmospheres.

-What does José Madera Niño want to show every time he is on stage?

-A good show, a well-assembled band, a costume according to the situation, in short, the respect the public deserves.

Editor/ Lic. María Fernanda León

President of San Juan Producciones

Photos/ Courtesy: José Madera Niño

Por Maria Fernanda Leon, ISM Corresponsal – Caracas – Venezuela

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