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Search Results for: Trumpet

De Tierra Caliente founder Bronson Tennis talks about his career and band

There have been many American musicians who have fallen to the charms of Latin music, which is a practically inexhaustible source of genres allowing them to experiment with in many ways. One of them is Bronson Tennis, with whom we have been fortunate to talk about his interesting career and current musical group, De Tierra Caliente.

Bronson playing
De Tierra Caliente founder Bronson Tennis playing the guitar

Bronson’s beginnings in music

Bronson Tennis began to put his eyes on music when he was just a child, when he was very attracted to the 1990s alternative rock movement in the United States. When he was only 11 years old, his parents bought him his first bass guitar and later he also wanted to learn to play the guitar and sing.

In family matters, Bronson and his three brothers are musicians and several of his cousins and uncles have also been musicians. In addition, his mother was a fine artist and his grandmother was an art teacher.

Both in school and church, the boy always chased opportunities to sing and show his vocal skills to anyone who wanted to hear. He also took advantage of all these spaces to learn as much as he could about music until he was old enough to exercise it professionally. 

Today, his main instrument is the guitar, although he also plays the cavaquinho (an instrument of Portuguese origin which is widely used in samba) and the roncoco, which is an adaptation of the Andean charango that he uses to play salsa and Cuban son.

Bronson posing for the camera
Bronson Tennis playing the guitar while posing for the camera

Professional debut in music

Bronson also told us that he began his career path as a bassist and chorister in several musical groups in the city of San Diego between 2006 and 2009. He then spent some time in Philadelphia, where he also played with other bands from a variety of genres.

It is interesting that he lived in Buenos Aires, Argentina, where he also worked as a bassist and singer in some bands. In fact, in that same country, he helped form a Caribbean funk band in which he learned a lot about these genres so foreign to what he played in his childhood and youth. He stayed about four years in Argentina, specifically between 2009 and 2012, until he moved to Brazil for about six months to continue learning more and more about Latin music, but it was not his last stop in South America, as he was also in Colombia for a while more.

Following this, he returned to Philadelphia and decided to form his own orchestra which he named De Tierra Caliente.

Prior to De Tierra Caliente

When Bronson returned to Philadelphia, he had the chance to meet some musicians from the Puerto Rican music scene in that city and saw that they had similar outlooks on music, so they got back in the saddle to prepare a formal project amongst themselves.

The artist assures that it was in Argentina where he learned what it takes to move forward with his band. ”Argentines are people who do everything with strength and confidence, whether in music or in soccer. No matter who or what they have to face, as they take on all the challenges with confidence and that is something we could all learn from Argentina.” Bronson said of his stay in that country.

Bronson and his band
(L to R) Papo Buda, Bronson Tennis, Eubie Nieves, Andy Meyer and Steve Cochran

In Brazil, he studied percussion and learned Portuguese, while Colombia taught him to play salsa, champeta, vallenato and many other genres. In short, each country he has visited gave him tools to facilitate his learning in everything about Latin music in various areas.

Precisely thanks to all this acquired knowledge is that Bronson finally felt able to form his own band in 2014 in union with fellow musicians who understood what he wanted to carry out.

How De Tierra Caliente started

Upon his return to the United States, Bronson was very clear that he wanted to incorporate all those elements learned in South America and the Caribbean, but giving them his own touch. It was then that he met conguero Papo Buda, with whom he agreed on much and began the recruiting process for the rest of the musicians.

After that, Bronson and Papo could add more artists to the group, resulting in a fairly consistent group over time. Since its founding, very few musicians have left the band and Bronson and those who remain have an excellent relationship with all of them despite no longer being band mates.

Among his greatest inspirations, Bronson mentioned many artists and groups of various nationalities and genres such as El Gran Combo de Puerto Rico, the Brazilian composer and singer Paulinho da Viola, the group Caribe Funk and many others.

De Tierra Caliente playing
De Tierra Caliente playing live in Yardley

Read also: Latin jazz and mambo trumpeter Jonathan Powell and his great collaborations

Salsa, territory of joy.

Latin America / Venezuela / Caracas

Salsa, territory of joy, language of celebration, enjoyment of the towns and their people, was born from a confluence of facts, geniuses and rhythms. Confluence that happened in the faith of the same religion: Afro-Cuban music.

Salsa pal Bailador
Salsa pal Bailador

And that mixture, which Richie Ray and Bobby Cruz cleverly described as “similar to the tomato sauce that is put on hamburgers to give them flavor”, was summed up in the insightful sentence of the occasional witness, the journalist Phidias Escalona: “the music that you make is salsa. From now on we will call it sauce”.

The year was 1968 and although the new rhythm already existed, there had been no consensus on the name. And that consensus began to emerge -perhaps for the first time- on the album “Los Durisimos The Strong Ones, Salsa y Control”, by Richie Ray and Bobby Cruz. Later, Richie himself would add: “The word was born around us, (however,) if it weren’t for (Jerry) Masucci there would be no salsa, because he brought it to the world.”

In 1960s New York Harlem, black Americans had begun to like Latin music, despite not speaking Spanish.

Ama a tu musa como a ti mismo - Salsa
Ama a tu musa como a ti mismo – Salsa

The guajira dazzled them until they made them dance. Believing that the mixture of boogaloo, blues, mambo, guaguancó or son montuno, was a variant of the boogaloo invented by Chubby Checker, the new rhythm was founded, incorporating the concepts of the Latin spirit in their interpretations and that -technically- they would add to the baggage : percussion, piano, violins, trumpets, trombones and whatever instrument would serve to give it flavor and richness.

Cocola' Wears - Venezuela Salsa
Cocola’ Wears – Venezuela Salsa

Musically, for example, the so-called “blue notes” would be added (that is how the overtones of the acoustically weak E and B notes, last to be added to the scale, where they would be relocated between Lam and Lam) would be added to the new fusions. Then came the downloads and phrases that we know until now as characteristics of salsa.

Thus the sauce was born. And so it has been transformed, always within the circle that encloses joy, passion and enjoyment, history, experiences, fortune or misfortune, seen from different perspectives: urban, social, sensual or everyday.

Tocadisco - musica
Tocadisco – music

Federico Betancourt “Pioneer of Salsa in Venezuela”

Latin America / Venezuela / Carabobo

Jesús Federico Betancourt was born in the city of Valencia, Carabobo state, on March 22, 1940. He was always attracted to music from a very young age.

Photo of Federico Betancourt on stage
Photo of Federico Betancourt on stage

In his adolescence, he liked Cuban rhythms, being influenced by Sonora Matancera, Mon Rivera, Eddie Palmieri and Joe Cotto. Before entering the entertainment world, he works at the Bank of Venezuela.

He affirms that he has not carried out formal studies at the musical level, learning the necessary theory to be able to perform as an orchestra conductor, but without interest in interpreting any instrument, but with a well-tuned ear, which has allowed him to remain in the music business for decades. , in fact on certain occasions he is named as the King of the Güiro.

Photo by Federico Betancourt
Photo by Federico Betancourt

His career began when he entered the Los Selectos Orchestra, where they played songs by the Billos Caracas Boy’s and the Los Melodicos Orchestra, which were at their peak in the 1960s, all this in a particular way, said Orchestra did not go beyond that.

In 1965, Federico Betancourt decides to satisfy his artistic restlessness and founds a band called Federico y su Combo Latino. The members that made up this band were chosen from among the founder and together with Roberto Monserrat.

But it was not until the middle of 1966, when the twenty-six (26) year old undertook the recording of the LP that would make him famous forever. This record production entitled LLEGO LA SALSA, would mark an important stage in Venezuelan Salsa, because it was the first LP that made use of the word SALSA in the country.

Federico Betancourt
Federico Betancourt

Federico Betancourt himself recounts that the Venezuelan announcer Phidias Danilo Escalona had a Radio Program called LA HORA DE LA SALSA, EL SABOR Y EL BEMBÉ, where all the Cuban and Puerto Rican Caribbean rhythms that were fashionable at the time were placed, among those who highlighted La Sonora Matancera with Celia Cruz, Tito Puente, Joe Cuba, Tito Rodríguez among others, and who was the one who supported them the most in terms of recording the album.

The production was recorded under the Palacio label, and the LP was titled LLEGÓ LA SALSA, he affirms that the title was chosen without taking into account the importance that it would revert in the future, he also affirms that it was not the name that gave him success , the album was a “bump” in sales, since all the songs were the most requested at the time, using his words: “The album sold like hot cakes”.

The music lovers of the time requested it on specialized sites such as the LA SALSA album. Federico says: “The father of the word SALSA was Phidias Danilo Escalona, ​​he used it for the first time in his radio program, and I, humbly, with the success of my LP, gave him the push for its mass use.”

Federico Betancourt - Photo
Federico Betancourt – Photo

In Venezuela, the word SALSA was welcomed by the public willingly, since it suggested a mixture of flavors, which was exactly what happened in the Phidias program, but at the level of rhythms. After the appearance of Federico’s album, all the shows that were performed at the level of Caribbean and Cuban rhythms, carried the name of SALSA.

It is important to name the musicians who took part in this historic production: The musicians are: Ali Rojas Bongo and Cencerro, Roberto Monserrat Music Director and Timbal, Pedro Medina Congas, Alfredo Arcas Trombone, César Pinto Trumpet, Enrique Iriarte Piano, Rafael Prado Bass, Carlín Rodríguez Singer and maracas, Dimas Pedroza Singer, Federico Betancourt Güiro and Director of the Orchestra. The musical arrangements were by the famous trumpeter Eduvigis Carrillo (RIP). Production themes:

Llego la Salsa CD - Federico su Combo Latino
Llego la Salsa CD – Federico su Combo Latino
1.- Cocolía

2.- Conmigo
3.- El Pachanguero

4.- Sancocho Caliente
5.- Guaguancó Manía

6.- Celosa

7.- Despierta Rumbero

8.- No Critiquen
9.- Saoco

10.- Baila Yemaya
11.- Café Y Pan

12.- Que Me Querías

After the success obtained with the record work, the time came for the first international outing, which was to Colombia, in 1969. It happened because the singer of Los Melodicos, Víctor Piñero, informed Betancourt that he was stuck in Cartagena and Barranquilla with the themes El Cobrador and Federico Boogaloo. After the information, the young musician went to the neighboring country and got a contract for the famous Reina del Mar parties, in Cartagena, on November 11, 1969.

The experience of the band was so good, that in 1970 they returned to visit the country. From then until our days Federico y su Combo continues to be an emblematic and legendary band in Venezuela, for this reason the WEB of the classy salsero SALSA BRAVA, offers its respects to such an important salsa figure.

Discography
1966 Llegó La Salsa Palacio (LPS-6171)
1966 Salsa y Sabor Palacio (LPS-6185)
1967 Más Salsa Palacio (LPS-6205)
1967 Durísimo – Vol. 4 Palacio (LPS-6216)
1968 Federico Boogaloo Palacio (LPS-6228)
1968 Psicodélico Con Salsa Gilmar (LPG-110)
1969 Mejor Que Nunca Gilmar (LPG-111)
1969 Vibración y Ritmo Sonus (102-17080)
1970 Dos Sets Velvet (LPV-1539)
1970 La Machaca Velvet (LPV-1539)
1973 Federico Si Te Pone A Bailar Palacio (LPS-6332)
1975 Derrape De Salsa BASF (10.068)
1976 Siguelo Ahí…. a Lo Cortico BASF (10.070)
1977 Ayer y Hoy BASF (10.076)
1977 Esto Es Lo Mejor Palacio (LPS-6372)
1978 Mis Exitos y Más BASF (10.079)
1978 Sabor Foca (LPF-10.037)
1979 Federico y Su Combo Foca (LPF-10.120)
1979 Federico y Su Orq. – El Maestro Discomoda (DCM-1128)
1980 Federico y Su Orq. con Memo Morales Discomoda (DCM-1148)
1982 No Le Digan Integra (PF-14.075)
1983 Nuevamente Palacio (LPS-66.541)
1984 SaaaBroooSo! Palacio (LPS-66.552)
Compilation
1996 Mis Exitos y Más…Vol.1 Sonograma
1996 Mis Exitos y Más…Vol.2 Sonograma
1996 Mis Exitos y Más…Vol.3 Sonograma
2005 El Pionero De La Salsa Palacio
2008 Salsa De Oro Gilmar

 

Pirisalsa Orchestra

Latin America / Venezuela / Falcon

The music is the result of the creation of a rhythm that tries to convey a message that the artists give to their audience and depending on the voice, the lyrics, the instruments and above all the desire to transmit that feeling, they make people want to listen to it and dance to it.

Pirisalsa Orchestra
Pirisalsa Orchestra

The Orchestras became known for being dynamic groups, creators of rhythms and party entertainers; something that cannot be replaced by a DJ or digital music, since recorded music and live music are two different things.

In the state of Falcón, Venezuela, there is the Grupo Piritu, who make up the Pirisalsa Orchestra, they are a group of talented young people who, despite their young ages, know how to transmit the flavor of Salsa to their audience.

Members of the Pirisalsa Orchestra
Members of the Pirisalsa Orchestra

They emerged and were educated in schools and through the selection of the most outstanding children in music, they gradually gave rise to the orchestra, being a pleasant and rhythmic sound to the audience to date, not to mention that it is a group with many followers full of dreams and musical desires. They mention that “since our first presentation on October 19, 2011 to date we have not stopped working…”.

Pirisalsa Orchestra with Augusto Felibert - Asocosalsa
Pirisalsa Orchestra with Augusto Felibertt – Asocosalsa

Currently his manager is Frank Molina, he says:

“That as a manager whenever he discovers a rough diamond project what he wants is to make it shine to achieve and achieve the dreams of each member and turns it into a single dream, because the Pirisalsa orchestra is a family. …the goal is to ensure that our work is recognized both nationally and internationally, I have been working for some time now, spreading this project on radio, television and social networks, we also have the support of many artists who believe in this Project. These young people are admirable because at their young ages they decided on this genre that is SALSA”.

Franky Frorentino - Pirisalsa
Franky Frorentino – Pirisalsa

The Pirisalsa Orchestra plays SALSA, with a smooth style in its message and melody, despite the fact that the rhythm is very lively, thanks to the percussion instruments, showing us and maintaining its Latin, Afro-descendant, and Caribbean roots in its music.

Photo by Franky Frorentino
Photo by Franky Frorentino

They have had the opportunity to participate in several important events in Venezuela, such as the PDVSA Salsa Festival held in La Estancia, Caracas in two editions, where they managed to share with great bastions of this genre throughout Venezuela, especially in Caracas, there were also a Festival in Maracay, Aragua and recently at the Whatuyusei Festival in Punto Fijo, Falcón, where they shared with artists such as Omar Enrique, la Melodía Perfecta, Gustavo Eli, los Bois Servando and Florentino, among others.

Franky Frorentino
Franky Frorentino

However, their goal and desire is to take their music throughout Venezuela and abroad so that the whole world can listen to them, appreciate their talent and be able to project themselves as an orchestra, since when they are on stage in a presentation they sing full of a feeling of love but that is with great elegance, with a fresh, tender language, full of emotion and kindness, but always transmitting his deep love for his homeland Venezuela.

The members of the orchestra are mostly young people and children from the town of Piritu, Falcón, dividing into:

Pirisalsa Orchestra
Pirisalsa Orchestra
●      Evannys Lorves – Vocalist ●      Daniel Peña – Hand Bell
●      José Amundarai – Vocalist ●      Bongo Wullian Álvarez – Piano
●      Yerli Lugo – Vocalist ●      Javier Gómez bajo eléctrico
●      José Daniel  Lugo – Timbal ●      David Gómez (director musical) – trombón
●      Reinaldo Pérez – Congas ●      Reinaldo Antonio Pérez – Trumpet
●      Navarro trompeta y Luis Navarro – Trombón

The Pirisalsa Orchestra and its Manager Frank Colina gave a message to all the new talents, which goes like this “if you have a musical dream, don’t let difficulties stop your path, believe in your virtues, try to be yourself, don’t copy nobody, be original, offer your own proposal and believe deeply in it, don’t stop no matter how hard the circumstances are, fight relentlessly until you break down the barriers and achieve your goals. He who perseveres achieves.”

Pirisalsa - CDs
Pirisalsa – CDs

For more information Pirisalsa Orchestra:

  • Facebook: @frank.colina
  • Instagram: @managerpirisalsa
  • Twitter: @pirisalsamanage
  • Phone: +(58) 4168076199 / +(58) 4168044073

 

Eduardo Herrera

Latin America / Puerto Rico / Puerto Rico

Puerto Rican singer Eduardo Herrera presents us with his new album “Libre” which will have 10 songs, one of them has the same title as the album, which aroused our curiosity. He mentions that his song “Libre” deals with a false love that destroys and manipulates at his convenience, his process of liberation from all that is bad or toxic in that love and, above all, the search for a force to have the courage to face everything and so on. being able to value yourself as a person and being able to look at yourself in the mirror.

Eduardo Herrera tells us that “it is not just a song, it is a way to get out of a prison, of the emotional and physical abuse that you can receive from a person who supposedly loves you… for me it has a lot of meaning, I sing it with great emotion because I lived it I got over it and now I’m free.”

The origin of the album was thanks not only to the singer but also to the good musicians who accompanied him, designed and finished him, among them the arrangers Richard Marcell (piano and bass) and Adán Pérez (piano), Tito de Gracia on percussion, Juan Carlos Cardona (Juako) with Trombones, Jesús Alonzo with Trumpet, Ángel Torres with Baritone.

Eduardo Herrera
Eduardo Herrera

Eduardo Herrera says that since he was a child he has sung in different choirs as he mentioned in the previous report, but from the age of 11 he fell in love with tropical music thanks to Jerry Rivera with the song “Casi un Hechizo” becoming addicted or passionate about the sound of the trumpets the congas and the romantic songs. After the separation of his partner, he began to write his own songs, and later he met a first-class musician named Adán Pérez, a great pianist and arranger; together they met to write and create the current themes of the discography.

He (Eduardo Herrera) also told us that he was in a choir called the Housing Authority Youth Choir, where he had many pleasant experiences and the opportunity to sing at Radio City Music Hall with the British Rock Symphony. In 2016 he produced an album of sacred music and had the honor of meeting Richard Marcell, winner of several Grammys as an arranger and musician, in that production he made 5 excellent songs.

The discography “Libre” has themes that speak of pain, love and the hope of a new beginning for the artist, that is, it is a production with a great variety of lyrics, he confesses that each song is its own story, it has its own identity and hopes that the salsa audience enjoys his work to the fullest since he left his whole being in that production.

In order for the professional life of an artist to be recognized, the greatest obstacle must be avoided, which is oneself, limiting oneself, being afraid; always says: to all my brothers or sisters who are starting something or have a goal in life, don’t give up, fight for your dreams

For more information:

  • Phone: +1 787 399 5064
  • Email: [email protected] / [email protected]
  • Facebook: https://www.facebook.com/eduardoherrerasalsa/
  • Instagram: https://www.instagram.com/eduardoherrerasalsa/
  • YouTube: https://www.youtube.com/user/eduardoherreramusic
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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.