Search Results for: Trumpet

Good initiatives must be shared!

North America - United States - New York

We were taking the Salsa exhibition to Puerto Rico for the I Encuentro de Coleccionistas de Salsa, we made an exhibition of the clothing, records and instruments used by the Fania All Star orchestra, Tito Puente, Héctor Lavoe, Adalberto Santiago, the Gran Combo and others. For the first time, the last “tuxedo” that Tito Puente used in his participation with the Orquesta Sinfónica de Puerto Rico was exhibited.

Spanish Harlem Salsa Music Gallery, offered an exhibition and Master Class on the history of Salsa at the Escuela Especializada en Música Jesús T. Piñero in Cidra, Puerto Rico. We transported ourselves to Puerto Rico in search of an opportunity to publicize the Salsa Museum-Gallery in New York.

This is part of the efforts being made for the participation and dedication that is made to the people of Cidra in the Desfile Nacional Puertorriqueño 2020 and that is locally coordinated by the Patronato Cidreño along with other civic and professional organizations.

We were able to benefit hundreds of students at this school who are precisely focused on music. The knowledge offered in the three conferences and being able to closely observe the exhibition helped to foster the enthusiasm of the students who make up the campus, unique in the mountains of Puerto Rico, dedicated to the creation of good musicians and knowledgeable in musical art.

We are dedicated to enhancing Latin music and offering spaces focused on arts education, accessible and friendly to the community as a strategic partner.

I thank valuable people such as Laura Torres, Silkia Vázquez, Wilson Nazario and Wilfrido Torres “Puruco” for all the attention and teamwork that we were able to develop during our visit. I cannot stop also thanking my assistant in Puerto Rico, Carmen Cruz; and to Joseph Cruz for his magnificent and beautiful work with me during this pleasant experience.

I also take advantage of this space in International Salsa Magazine because I want to tell you about an artist and a great friend who is doing his best for music and Salsa. Without a doubt, Yova Rodríguez is a long-standing professional who has developed countless projects and initiatives to support those who need it most. With his music, his work and his human quality, he has reached many hearts from New York.

Geovanni “Yova” Rodríguez Ruiz, born in Puerto Rico, had a musical inspiration since he was a child, his uncle Antonio “Toño” Ruiz – his mother’s uncle who played the cuatro – was his first music teacher (melody) and his uncle José Antonio “Pipo” Ruiz Crespo -mama’s younger brother- taught him how to sing aguinaldos (lyrics); and with this they formed the solid foundations that encouraged little Yova to prepare himself accordingly for his foray into the musical world.

The celebration of the Promesa de Reyes, a celebration in which he participated with his mother at his short seven years, leads him to worry about creating and recreating aguinaldos to be interpreted each year, which in some way becomes the seed of composer that we know today.

At the age of 14, he attended the Escuela Libre de Música Ernesto Ramos Antonini in Mayagüez, hand in hand with piano teacher César Toro, rising as vocal leader of the Orchestra after a year.

Years later he gave himself the task of forming his own musical concept, and thus Sakao Aká was born. This orchestra was in charge of accompanying singers such as Camilo Azuquita, Ray de la Paz, Pupy Cantor and Herman Olivera in their presentations in Puerto Rico; and the cover letter for some of these singers to integrate Yova as a chorus girl in their presentations in various countries in Central and South America.

At the end of the 90s, on a trip to Cuba, he was impacted by the music of Fernando Borrego Linares, better known as Polo Montañez, to the point that, some years later upon learning of his death, he had the idea of paying tribute to him, his musical reference, thus giving birth to the idea for her debut feature Homenaje a Polo Montañez (2005), a production of 10 songs by Montañez, and covered by Yova Rodríguez with the participation of renowned musicians from the patio such as Herman Olivera, Héctor “Pichie ”Pérez, Papo Lucca, Edwin“ Caneca ”Rosas, Edwin Colón Zayas, among others.

In 2008, like many of her compatriots, Yova prepares her luggage and heads to the southern United States, where she stays for two years and then moves to New York, a city that has become her center of operations and from where He has extended his working ties as a composer and where he records his next two productions.

The album Letras, canciones y sueños, musical work of 8 songs all written by Yova, comes to light after some years of having published his first production and of having worked silently composing and waiting for his opportunity. This possibility is materialized in 2013.

Already in 2015, the album Mi musa en las voces de mis amigos is released.

Recently, Yova Rodríguez has created more than 420 songs, and many of them have been duly registered with the American Society of Composers, Authors and Editors (ASCAP) under the registry “El Negrito De Delia Music” . “Exceso de amor” is the first composition he has interpreted and recorded; like the song “No me odies”, it is the first recording of a song by him made by a third party.

Now they are going to hear more from Yova, as some productions that will include her compositions are in the process of recording / publishing. Attentive to the upcoming releases of the young Puerto Rican percussionist José Jomar Marcano, the master trumpeter Luis González, the young trombonist, arranger musician and also singer Leo Morales; the renowned DJ Andy Rodríguez, better known as DJ ANDY and the Venezuelan sonero Marcial Isturiz .

As always, remember that Spanish Harlem Salsa Gallery is in 1708 Lexington ave New York N.Y. 10029. Open free to the public all Thursdays & Fridays from 4 to 7 pm and Saturdays from 1 to 8 pm. Check the updates in our website: spahasalsagallery.com.

Also, The Johnny Cruz Show, the # 1 Salsa Show on television on all 5 Boroughs of New York on CH67. Saturdays from 3:30 to 4:30 pm.

Contact: Johnny Cruz. 917-747-8505. [email protected]

By Johnny Cruz, ISM Correspondent, New York, New York

Luis “Papo” Marquez, Musician, singer, songwriter and producer

North America / Miami / Florida

This son of music, born on December 18, 1972, in the Pinar del Río Cuba Province, was raised between notes and chords that led him to be the artist he is today, known as Luis “Papo” Marquez, and considered a complete musician: trumpeter, composer, arranger, singer and music producer.

As a child, he contemplated music as his environment, profession and way of life, thanks to his family who instilled in him all the passion for art and provided him with the tools to develop his knowledge. He began his trumpet studies at the age of 8 (eight) and, at 15 (fifteen), he already practiced professionally as a trumpet player in groups such as the Bella Mar Orchestra, Grupo Cumbre, musical grouping Los Trimmers, Grupo Íreme and Ricardo Hechemendía, in Pinar del Río and Havana.

At 19 (nineteen) he emigrated with his family to Venezuela, a country that opened the doors for his artistic consolidation, where he managed to make art on a large scale with the execution of his instrument and took the first steps within the world of composition and production.

“In Cuba, love and passion for music through the trumpet was born from me, but it was in Venezuela where I had, for the first time, the opportunity to look closely at how the art of composition worked. Suddenly, I was sitting in front of a piano and reading music sheet, trying to understand how they worked and falling in love with the trade. ” LPM

This is how he started a successful career, thanks to his perseverance and permanent study, having the opportunity to play his trumpet with Venezuelan orchestras such as Mauricio Silva, Erick Franchesky, Naty and his Orchestra, Biella Da Costa, Ilan Chester, Sergio Pérez, Porfi Jimenez , Alfredo Naranjo, Orlando Poleo, Los Incorregibles, Mulato, Repicao and Guaco.

He continues forging his path and arrives in Miami, where he expands his international path with artists such as Jon Secada, Bacilos, Willy Chirino, Oscar D ‘León, Juan Gabriel, Gilberto Santa Rosa, Jerry Rivera, Celia Cruz, Cheo Feliciano, Chayanne, José Luís Quintana “Changuito”, Jose Alberto “El Canario”, Víctor Manuel, among others, with whom he has the opportunity to present himself as a trumpeter and in some cases, as arranger and producer.

One of his biggest recognitions has been the delivery of an American Grammy Award for best music producer with the album “Son del Alma” by Willy Chirino; however, for LPM, the recognitions come day by day with the opportunity to make the music that moves and elevates them in their personal and artistic satisfaction.

Luis Papo Márquez defines himself as a “citizen of the world” born in Cuba and with a Cuban-Venezuelan heart. Work and discipline are his pillars to get ahead and his greatest passion will always be “creating music that makes the world move”.

Participation as Trumpeter and Arranger: Jon Secada, Bacilos, Willy Chirino, Juan Gabriel, Gilberto Santa Rosa, Jerry Rivera, Celia Cruz, Guaco, Cheo Feliciano, Chayanne, Edwin Bonilla, Luis Enrique, Victor Manuel, Rafael “El Pollo” Brito, Oscar D´León.

Record Productions:

Son del Alma (The rhythm of the soul). Willy Chirino. 2004. Grammy winner.
De corazon a corazon (From heart to heart). Team VIP. Luis Papo Marquez. 2007
Wireless Telegraphy. José Luis Quintana “Changuito”. 2007
Puedes volar (You can fly). Luis Papo Marquez. 2011
Arturo Sandoval tribute. 2016
Cuban Añejo. 2017
Firstborn. 2019

Gon Bops

USA / Los Ángeles / California

Gon Bops, Remains one of the oldest and most respected manufacturers of Latin instruments in the world

The Gon Bops legend began in 1954 California when Mexican-American Mariano Bobadilla (born in Guadalajara) – who would go on to become one of the most highly-regarded conga builders in the percussion industry – started designing and building Conga and Bongo drums.

A band instrument repairman and professional trumpet player, Bobadilla 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, as in, “everything is gone, man” – and “Bops” because his friends nicknamed him Bob, which sounded like “Bop” in the Latino dialect.

While Bobadilla’s drums remained true to the classic Cuban shape, he was a genuine innovator in the development of drum hardware. He designed the first teardrop crown with rounded counter hoops, developed to protect players’ hands – a concept that is now universally accepted.

He also gave birth to the first tunable hardware for congas and bongos in the United States. Having witnessed Cuban conga players heating up drums in their kitchens prior to performing, Bobadilla decided there had to be a simpler more reliable method to tension these instruments.

Other innovations from the young company were Taroles (wooden timbales), the first pre-mounted replacement heads for congas, chromatic tuned cowbells and numerous stands, adapters and other hardware.

Gon Bops enjoyed great early success. The instruments were highly sought after by the top players of the era – giants like Alex Acuna, Mongo Santamaria, Francisco Aguabella, Armando Peraza, Poncho Sanchez, Jose Hernandez 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 1950’s, 60’s and 70’s.

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

But the winds of change were sweeping through the American percussion industry. By the time the 1980’s rolled around, all of the major US percussion manufacturers had moved offshore to manufacture their instruments.

Cheap Asian labor costs meant greater profits. But as manufacturing costs decreased, so did quality, and for that reason Bobadilla refused to mover his production outside of the US. As a result, Gon Bops began to struggle financially. Unable to compete against his larger competitors, Bobadilla had no choice but to close the doors of his highly regarded company.Thankfully, that was not to be the end of the Gon Bops brand.

In 2001 Don Lombardi of US drum manufacturer DW bought the company along with all of its patents and trademarks. Lombardi had met Bobadilla in 1978 when he used Gon Bops Timbale shells to build DW brass snare drums, and subsequently had continued to seek R&D advice from Bobadilla.

It was a great fit, and it was no coincidence that the quality of DW drums and hardware continued to grow after the Gon Bops acquisition.

To run his newly acquired Gon Bops brand Lombardi hired the best drum craftsmen in the US. He even bought San Francisco-based Sol Percussion in order to conscript its founder – drum builder Akbar Moghaddam – to the Gon Bops cause.

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

In 2010 cymbal-maker 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 a search for like-minded instrument companies available for acquisition. And it was a happy circumstance had Lombardi had begun to seek a buyer for Gon Bops.

“We’re excited to begin this new chapter in SABIAN and Gon Bops history”, notes Andy Zildjian. “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 improvements that have forever changed Latin instruments.

We are excited about not only expanding distribution, but also continuing to focus on groundbreaking designs that represent clear improvements in meeting the needs of musicians. The pursuit of the best sound is what our craftsmen work for every day. We know the fit is perfect, above all, because sound matters.”

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

Jay Ruiz, singer-songwriter, From the Sultana del Oeste, Mayagüez – Puerto Rico

North American / Puerto Rico / Puerto Rico

Jay Ruiz is the stage name of Jonathan Camacho Ruiz, a singer-songwriter born in La Sultana del Oeste, Mayagüez, but raised in the Pueblo de Rincón neighborhood, the westernmost municipality of La Isla Del Encanto.

Among his ancestors, Jay Ruiz, highlights his paternal grandfather Antonio Camacho who was a musician and troubadour, in his native Rincón.

Jay Ruiz’s musical beginnings date back to his short 5 years, when he sang in the choir of the Presbyterian church he attended. However, he would later become involved in sports, which would keep him away from music until he was 11 years old, when at the middle school where he was studying, the teacher promoted him as a soloist in a 24-member choir group.

He also stands out as a percussionist, performing skillfully on the bongo, the congas and the drums; instruments that he would learn to play by ear when he was 8 years old.

When he turned 12, the guitar and the bass would be the instruments that would captivate him and to which he would dedicate his time.

When he turned 15, he decided to form his own Christian music group: this is how the New Creation group was born, in which he developed as a drummer and singer.

A year later, while he was a member of the baseball team that represented Puerto Rico, he was about to be signed by the University of Cleveland, but in the process he was diagnosed with neck and throat cancer.

He traveled to Maryland to undergo exhaustive examinations at the John Hopkins Hospital, the same ones that would determine that he would undergo six months of chemotherapy and subsequent radiotherapy, treatments that he would receive at the San Jorge Children’s Hospital (Santurce, Puerto Rico).

Before the radiation treatment he was warned that he would lose 85% of his vocal abilities, however, the story was different: August 12, 2001, he would finish the treatment for his illness and five days later, for his birthday, he meets in his town -Rincón- to the entire community in a musical activity in which he would play, sing and give testimony of his case.

Thinking about his future, he studies at the Interamerican University, San Germán Campus, where he obtains a bachelor’s degree as a Physical Education teacher for children with disabilities.

The illness of his father, who lived in New York, forces him to cross the pond to take care of him, until his death, five years later.

In 2011 he returned to Puerto Rico, and enrolled in the Ponce Paramedical College at the Mayagüez Medical Center, to continue studying Physiotherapy, however, he became involved again in music participating in the famous franchise IDOL PUERTO RICO, ranking among the 32 last finalists. He continues his academic life and at the same time, works as a chef in a restaurant, a situation that would lead him to serve a musical entrepreneur based in New Jersey (United States) who was visiting the island, and with whom he would start a friendly relationship first, that would turn into work a few months later, when the businessman invited him for an audition in the neighboring municipality of Cabo Rojo.

After that meeting, in 2014, Jay Ruiz would pack his bags again to settle in Newark (New Jersey, USA) from where he would launch his career as a performer of the bachata genre, and that he would have on the songs “Ven A Mí , Girl” and “Culpables” two singles of wide diffusion and consideration in the international radio circuits, to the point of having disputed with the last mentioned cut, the category of Favorite Tropical Song of the Latin American Music Awards between great personalities of the music like Víctor Manuelle, Prince Royce and Gente de Zona (feat. Marc Anthony).

In 2017 he becomes independent, returns to Puerto Rico and decides to promote his career, but this time as a salsero, recording the single “Lo Sé”, of his own, under the production of maestro Nino Segarra.

Two years later, he brings us this new single, of which he is also the author, both of the lyrics and the melody.

The following staff participate in this single:

Lyrics, Melody & Interpretation: Jay Ruiz

Arrangement: Ceferino Caban

Complete Percussion: Rafael “Tito” de Gracia

Bass: Alexis Perez

Trumpets: Luis Aquino

Trombones: Jorge Dobal

Choirs: Norberto Vélez Curbelo, David Carrero & Ceferino Caban

Piano & Keyboards: Ceferino Caban

Mastering: Esteban Piñero

Phil Robinson: An artist with a brilliant career and a positive outlook on the future.

North America - USA - California - Los Angeles

Phil Robinson, Sonero, composer, performer and leader of his own orchestra.

His charisma and his entrepreneurial, creative and positive attitude make everyone who has the opportunity to talk with him enter his world, his love for music, and his passion for improving, learning and being better every day. Phil Robinson has loved art from a young age.

The artistic influences that he had from his mother and his aunts, directed him to a gratifying world full of unforgettable experiences. A complete artist, with many stories to tell and whom it is definitely worth learning from.

Phil Robinson with Producer and Director Salim Samouh

Born in the Bronx, New York, to Dominican and Puerto Rican parents, he grew up and had his first approaches to music in the Dominican Republic, surrounded by close family members who sang, recited poetry, and performed. When he was just 5 years old, he listened and was inspired by the Spanish singer, Joselito, considered a child prodigy for the time.

With the passing of the years, and as a teenager, he returned to the Bronx that saw him born, just in the days of Fania. He admits that at that time his voice was not yet fully developed, but thanks to his sister he was always in contact and learning about Latin music, especially Salsa.

“I had a lot of interesting exhibitions. At the time when I returned from the Dominican Republic, I lived for a long time in the South Bronx, where I was born. And I had the opportunities to see all those artists like Larry Harlow and Ismael Miranda (who worked together), Héctor Lavoe, Willie Colón… And I looked at these Latino artists and said to my sister: One day I am going to be on that stage! ”

Beginnings full of learning

By the 1960s and 1970s, Latin music was booming in the United States. In addition to radio, orchestras had become mainstream and performed in American venues. All of this was very enriching and motivating for a young Phil Robinson.

The Orquesta Yaré of southern New Jersey was the first group in which Phil Robinson had the opportunity to participate, develop his voice and work to improve his native talent. With this participation, it was time to explore more, focus on the music, and let it all flow down to the path Phil wanted to lead.

“Music is an art. It is a profession that takes a lot of sacrifice, which requires being very consistent, and never letting yourself be carried away by negative thoughts that you are not going to achieve it, but rather thinking that God knows what He does and how far He wants to take you ”

The Orquesta Yaré was a dream of a young man who, like Phil, wanted to succeed in the world of Latin music. Founded and directed by Leroy Gutiérrez (conguero, timbalero and bongo player) with original themes; and his brothers Johnny (bongosero) and Loui (trumpeter).

At that time, Leroy was a percussionist, but he also learned to play the piano by himself, without having a teacher. Gutiérrez invited Phil to participate, to make him a star. Yaré was an orchestra of 12 musicians, all the music was original.

“Our first performance was in 1973, on San Juan Day, at a celebration of el Día de Puerto Rico, in Vineland, New Jersey. I began to develop my voice, I did not have so much control over it, nor did I know how far it could go; but I had the enthusiasm that I was seeing something that I had been dreaming about for a long time, and it was coming true. ”

They played at Landis Park in Vineland, NJ. That night Larry Harlow and Néstor Sánchez has invited, and Orquesta Yaré accompanied them. It was a dream to be able to play alongside artists he admired. After years of that presentation happened, Phil Robinson reunited in Los Angeles with Néstor Sánchez and was able to share a photograph of that first presentation.

It’s fascinating how Phil recounts all these unforgettable experiences:

“…They had taken me a photo with him, and I had that photo here for years. Someone invited me to a show where he was going to be here in Los Angeles, and I grabbed my photo and took it for the meeting. That day he signed me the photo of more than twenty years ago… and he did remember me! ”

Everything that has happened in all these years since that first presentation in 1973, have been experiences to remember for a lifetime, and have given him the push to keep going.

“No one has to instill in me what it is to be in music, because that is already in me, it is in my blood, it is in my feet. No one has to ask me to continue in the music ”

Those encounters with certain characters who already had names, who was famous; and he found himself next to them, was enough to keep Phil’s energy high forever, continuing with the work to make dreams come true, and trying to be as original as possible.

Each experience has allowed him to gain knowledge of how music works. Times have changed and it is no longer so necessary to have a “sponsor” who invests in you and helps you finance an album, or who promotes you. You can do it yourself.

The key to reinvention

Although he confesses that it’s not something that he has planned, every day Phil thanks God for a new awakening and in his mind there is always that spark of imagining what he can do to take that daily opportunity to improve himself and always be active.

When referring to the current situation, generated by the Covid-19 pandemic, he thinks that the inconvenience that has affected everyone the most, especially for be unexpected, is the possibility of working freely.

But he remains positive towards the future, thinking that everything will pass. Applaud the initiatives of his colleagues in Los Angeles, where he currently lives, to use social media to sing their original songs and keep in touch so that people stay aware of what they are doing.

Regarding his activity on social networks, Phil tells us:

“For my part, I have not prepared to make that kind of approach to social media. But sometimes I put my songs on, or send a positive message to the salsa community, to my friends, to my colleagues, to people who like my music. And I stay present, not daily, because people forget about you when they don’t see you, but when they hear a lot about you, the magic goes away … I like that people don’t get so tired of seeing you or hearing your name, but suddenly you show up and people realize that you are in contact. “

Don’t be sad, very soon you can expect a couple of performances by Phil Robinson on his social media, with the tracks of his original music, to keep in touch and accompany him at this moment in which it is so important to stay at home.

The charismatic artist thinks that what is happening now is going to completely change the normality to which we are accustomed. Although he does not know what the end result will be, because everything is very uncertain, he knows that the salsa community is looking forward to the moment of returning to the clubs, and reflects on the need to be 100% sure of maintaining our safety and individual care. , and that of those around us.

For now, all that we don’t know about the new virus affects many professions, including that of singers, artists and musicians who live by being in contact with the public and constantly exposed. Still, Phil trusts God and thinks that this is part of a natural evolution like other situations that humanity has faced before, and the key is to adapt and have patience, because, luckily, we have technologies and tools available that in other times did not exist.

“Here in Los Angeles there is a lot of talent, there is a lot of preparation with many musicians, and even if you are not on a stage, you can create. We can use technology to do certain things that we don’t normally do because we are on stage all the time and people are physically seeing us. This has evolved technology much more, because we are all turning to social media to keep in touch and continue sending the message, so that this message does not die”

Affirm with total conviction that there is nothing impossible in life, the important thing is to take your time and plan to carry it out. Consistency has kept him focused on his goals under the premise that while an artist knows who he is and on what feet he stands, the only thing that will happen is that he will evolve and improve.

Plans with your Sonora Pa’ Gozá’

The group has had several names, the first name emerged when Phil arrived to Los Angeles in the late 80’s. He had always wanted the freedom to sing what he wanted; something that he felt completely comfortable with, identified with, and made easy for him. Under this premise, and after everything learned, Manhattan West emerges (alluding to the place where Phil grew up), a small group with two trumpets, a saxophone, full percussion, piano and bass. When he was not busy with his commitments to other orchestras, he dedicated time to his personal project and in which he chose the music he wanted to sing.

Phil and Orquesta Papo Rodriguez y La Sorpresa

While evolving, he became the leader of Henry Mora and the All Star Salsa Orchestra of Los Angeles, collaborating with many of the local groups, from there he became the lead vocal for Eric Matos and La Caliente Orchestra, Papo Rodríguez and La Sorpresa, and recorded two original songs composed by the title of Nelson Montalvo Fantasía and Mi Regalo included on his 2005 CD, Oye Salsa Sabor y Clave.

During the time that Phil was with Papo Rodríguez, the Panamanian singer Camilo Azuquita arrived in the city and La Sorpresa became Azuquita y su Melao, Phil became Azuquitas for several years, performing in many places known as the Hollywood Palladium and with many renowned artists. Thanks to these collaborations, Robinson finished polishing his style.

“Much of the style that I have, my way of perform, how I sing, how I dance, everything, we can say that I caught it from him. Azuquita has a very special swing… He is a dynamic singer, even at his age… ”

Some time later, Manhattan West became Sonora Borinqueña, and finally obtained the name with which we know it today: Sonora Pa’ Gozá’.

With this name the essence of what Phil transmits with each presentation is maintained:

“Many people could not, or had difficulty pronouncing Borinqueña… so I said, wow, nobody is going to remember us!… Then there was Sonora Pa’ Gozá’ … I always have that energy … because I not only sing, I also like dancing, I like interacting with the public, I get off the stage. I consider myself very dynamic. ”

Between Two Worlds

Phil Robinson considers his most recent production Between Two Worlds, a master recording, because the songs that were chosen for that CD are not all tropical, but not entirely Americanized either. The arrangements are Big Band, songs like No me platiques más or Esto es Coco, were made in Big Band.

This project took seven years to complete, some of the songs were meticulously selected by Arturo Solar Fernández, who produced the project with compositions by Ted Koehler and Harold Arlen, Homero and Virgilio Expósito, Enrique Benítez, Vicente Garrido Calderón, Armando Manzanero, Jesús Alejandro (El Niño) and of course, Phil Robinson.

February 2020 on location filming the short movie Darling Boy

Robinson also had the opportunity to venture into the cinema and include two of his original songs (Soy Rumbero, from his CD Salsa Sabor y Clave; and Loco a tu lado, from his latest production Between Two Worlds), in the cast of a short movie titled Darling Boy, by Syrian producer and director Salim Samouh.

Future plans

In the not too distant future, Phil Robinson hopes to compile all his recorded songs with other orchestras, the solo songs (both in English and Spanish); and others in which he ventures into rhythms such as Bossanova (Night and Day). There are also other American songs that Phil wants to record with more danceable adaptations and with his original touch.

It will also resume the organization of the Puerto Rican Festival in Los Angeles, whose twenty-fifth anniversary will be celebrated next year, after being postponed by the Covid-19 pandemic. We will see Robinson and his Sonora Pa’ Gozá’ at this festival, accompanied by Puerto Rican artists, orchestras from Los Angeles, San Francisco and from all around the world.

Many presentations are coming, Phil Robinson will tell us as soon as the new dates are confirmed so that they can enjoy, dance … and gozá’!

Valuing what is really important

When asking Phil Robinson what he would say to those young people who are just beginning and who have a desire to achieve their dreams, he answered:

“My advice is to believe in yourself, take the examples of those who have experience, respect our genre … The salsa genre is very positive, but many people mistreat it too … Being original is important, developing your own style, being accessible with people, be professional from the beginning. Having in your mind that you are a professional, no matter what level you are on, is going to take you to the top, because that’s clear. Choose the music that identifies you as an individual, don’t imitate, be consistent and keep in mind that there are going to be sacrifices… you are going to fall, and you are going to get up. ”

Many, like Phil Robinson, have natural talents, but his advice is that you also have to polish yourself, learn from those who have succeeded, and find out who you are as an artist. Fight, improve and give your best at all times, in all places and no matter how much they are paying you. If a commitment is made, do it. People will value you for what you do.

Of all the accomplishments throughout his career, Phil Robinson believes that what makes him most proud are all his career years. The reception and recognition of the public that knows him and knows how long he has been in music; who continue to support him, who respect him. From musicians to the people who go to see him when he performs. All this is very valuable for him.

Cuban Singer Franco, Phil Robinson and Actress Lupe Ontioveros at the Conga Room

“… And the steps that I have been climb, and that I am still climbing, because this does not end. And also the opportunities to be, even briefly, with those who have already gone beyond what I have done … I am totally proud of what I have done, where I am … and I continue in the fight . Anything can happen. Always looking positively into the future.”

Phil Robinson is a quiet man, he has a beautiful family that is his most precious treasure, a beautiful family that supports him, accompanies him, and cares for him all the time.

His family is the most important thing, because will come a day when he will decide to retire from the stage, and although he does not expect it to be soon, one day he will do and his family will always be there to continue adding beautiful experiences together.

Phil Robinson thinks he’s been lucky. Today he continues working to improve himself, grow, and learn something new every day, because it is never too late.

“As long as there is skill and desire, I will continue in the same: making music, and being the most original. That is the only thing that separates you from the rest, because we try to honor our music, but it is always important to keep a percentage that says: Ok, this is Phil Robinson. All of this continues to be a dream that will never end. This will end the day that I close my eyes forever, and it will be so. ”