Search Results for: Trumpet

Yamira Blanco -Director and tresista of her group Son Latino

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

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

Yamira Blanco - Photo — Photo by Yamira Blanco

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

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

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

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

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

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

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

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

In 2015:

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

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

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

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

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

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

If you want to contact this great artist:

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

ISM: Fanny Almanera better known as La Sonera del Callao

On this occasion we have the opportunity to interview the Peruvian Sonera called Fanny Almanera also known as La Sonera del Callao, her nickname comes from her native country El Callao, Peru.

She was born on January 23 and is the 9th daughter of her parents (Don Héctor Almenara and Carmen Barreto), from a very young age she knew and learned many things about the music of both parents; in the lyrical genre thanks to his mother and his best teacher Dona Ana María Parodi and with respect to his father who is / was a collector of the best exponents of Salsa (especially Cuban and Puerto Rican music), both listened almost all the time to Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, among others.

When she turned 16, she realized that she was passionately and in love with the dynamic salsa genre and made the decision to leave the choir and classical music, since her love and her taste is for the salsa musical, thanking her father greatly for showing her , show him and listen to the best collection of salsa music to date … “Music is like medicine … it fills the soul and innovates over time” and over time, while gaining his experience, his own audience would give him their nickname La Sonera del Callao and with the favor of God take his parents, especially his father, to Cuba.

Tribute to Omara Portuondo Living Legend of Cuba — Memory of the brave Sonero Cano

She also had the honor of participating for the first time in the choir to Junior Gonzales and alternate Grandes with Peruvian Orchestra such as Peru Salsa by Beto Villena, Las Estrellas de la Maquina by Boris Gomez, La Nueva Generación by Franco Covetto, during that time chosen as the best nobel voice of the salsa genre for the 80s; and at the same time he made several recordings for different groups, likewise he recorded an unpublished song of his own entitled “Yo Te Espero”.

Unlike other musicians, Fanny Almanera during this season met and currently has friends of renowned musicians, who interacted with her and her family, even before becoming a singer.

Memory of Ray Barreto and singing Adalberto Santiago de Fannia — Ray Barreto and singing Adalberto Santiago de Fannia

Between the 70s and 80s, Las Leyendas Latinas arrived in Peru with Ray Barreto and Adalberto Santiago, who gave him the great opportunity to sing with them “Quitate La Máscara”, then with Linda Caballero (La India), the song “Mi Primera Rumba ”, Then with the salsa pharaoh Oscar de León with the song“ Toro Mata ”and also with the great Lebrón Brothers with the song“ Sin Negro no hay Guaguancó ”. With the Owner of the Soneo Carlos “El Cano” ESTREMERA the song “Amame en Camara Lenta”, with Frankie Vazquez “El Cuarto de Tula”, with Yolanda Rivera the song “Rumba en el Patio”, Vity Ruiz brother of Frankie Ruiz the song “La Cura”, with Aldalbeto Santiago on the song “Nadie se Salva de la Rumba”.

In all these golden opportunities, he managed to ask her many questions to perfect her singing, including knowing more about how to rhyme the phrases and after a while with her imposing voice, Fanny captured the attention of the greats of salsa, representing Callao and for which the Chalaco people named it “La Sonera Del Callao”.

Souvenir of Linda Caballero best known India and Fanny La Sonera del Callao — Singing with Linda Caballero, the best known India and Fanny La Sonera del Callao

She tells us that she is very happy with this great experience acquired, especially that she met many internationally recognized artists, many met them in person and others thanks to social networks, expressed by many who have a very beautiful voice, which is why she sang many songs musical expressing that at the time of singing he likes it because it is his passion with all his steps (vocalization, expression, movement).

During the Covid-19 pandemic it affected her like the rest of the world, in her case the recordings of her musical themes could not be made as before since the recording studio did not work as before, she had to sing with a smaller group of people, they couldn’t get together to practice; Although he was on a halt due to the pandemic, he was able to record a challenger “El Virus Se Mata Con Musica”, invited by a Cuban musician which was also recorded by Cuban artists, which was successful as it was heard in different parts of the world.

Thank God, despite all the complications that arose regarding her musical career, she achieved many things during this pandemic and also remained active thanks to social networks and is currently activating social activities in clubs, where They work in small groups live or online.

Fanny Almenara, continues with her impeccable musical career, loving music and recording a song entitled “Amor de mis Amores”, a salsa version with the Orquesta NG del Callao Director Franco Crovetto.

For her vast artistic career, she was awarded by different musical associations and by the company Pinsen Callao, Asocosalsa Peru (Ceremony Tite Curet, Busto Hector Lavoe, Charlie Palmieri and 25 Anniversary of Artistic Life (Okonkolo Association) and a few days ago she received the award The Miami Radio Salsa Superior Award Director Richard Roman (“La Dama De La Salsa” Award)

Fanny La Sonera del Callao 2021 — Fanny La Sonera del Callao the Los Award award from Radio Salsa Superior of Miami Director Richard Roman

After his voice reached Cuban pages like the page “Benny More”, “Un Millón De Adalsoneros” and “Al Son Del Pinar Del Rio” She was invited to the day of Son 8 de mayo led by the gentleman of son Adalberto Álvarez, later I also record a song authored by the Reyna del merengue Milly Quezada “Gracias A Ti” dedicated to those who are always in the front line such as doctors and nurses in Covid 19 and the latest that the production of the song La Sitiera Tributo has recorded to the Cuban diva Omara Portuondo in which Nelson Gonzales participated in the tres, Eddie Montalvo on the congas, Nohelia Zambrano from Colombia on the violin and Luis Perico Ortiz on the Trumpet

For more information:

Tik Tok: @fannyalmenara

Vicente “Little Johnny” Rivero Conguero, Percussionist, Producer, Composer and Band Leader

“Tell me your name in leather, Little Johnny, Little Johnny” Hard Strike.

Conguero, percussionist, producer, composer, and conductor, Little Johnny Rivero has performed throughout the United States, Canada, Europe, Africa, Asia, the Caribbean, and the South Pacific.

Born in New York City to Puerto Rican parents, Rivero was attracted to Latin jazz and the sounds and rhythms of the New York area rumberos as a child.

At age 10, Johnny began practicing percussion and joined his school band.

Conguero, percussionist, producer, composer and bandleader, Little Johnny Rivero has performed throughout the United States, Canada, Europe, Africa, Asia, the Caribbean and the South Pacific. — “Tell me your name in leather, Little Johnny, Little Johnny.”

Shortly thereafter, he took dance lessons, which eventually led him to stage performances with the bands of the time at such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.

At age 14, Rivero joined Orquesta Colón, the youngest Latin band in New York City, and recorded two albums with them.

Shortly thereafter, he took dance classes, which eventually led him to perform on stage with the bands of the time in such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.

In 1973, Rivero moved to Puerto Rico with his parents and joined Sonora Ponceña in 1974.

After playing bongos with them for a year and a half, he switched to congas, which rekindled the love he had for the instrument as a child.

Rivero attributes the rhythms and professional direction he learned from Quique Lucca and his son, Papo Lucca, as qualities that have made him what he is today.

During the 16 years that Rivero played with La Sonora Ponceña, he traveled all over the world and made 18 highly respected albums with them.

Rivero has recorded with producers such as Eddie Palmieri, Brian Lynch, and Dr. Lonnie Smith.

In May 1997, Rivero shared the stage with his inspiration and idol, José Mangual. Rivero’s credits also include work with Charlie Palmieri, Dave Valentín, Rubén Blades, Cheo Feliciano, Andy Montanez, Ismael Miranda, Celia Cruz, Giovanni Hidalgo, Ray Barretto, Patato Valdez, Changito, Tata Guines, John Santos, Sergio George, Bebo Valdes, Paquito D’Rivera, Tito Puente, and many other artists.

Rivero’s first solo effort, “Pasos Gigantes,” was well-received by critics and music fans.

He wrote and produced all the songs on that CD, showing off his skills as an arranger and musician.

He is currently working on his next CD, “Music in Me”, his first Latin Jazz album, which will include musicians, Brian Lynch on trumpet, Zaccai Curtis on piano and keyboards, Luques Curtis on bass, Louis Founche on saxophone, Andrei Matorin on violin, Ludwig Alfonso on drums, and Anthony Carrillo on bongo and bata drums.

Currently, Rivero is traveling internationally with Grammy Award winner Eddie Palmieri.

He also continues to record in-studio sessions and perform with many of the most respected acts in Latin music, including his own band.

Percussionist Johnny Rivero presents the album "Golpe Duro", with his band El Cartel de Nueva York. — Percussionist Johnny Rivero presents the album “Golpe Duro”, with his band El Cartel de Nueva York.

Legendary conguero, percussionist, producer, composer and bandleader Little Johnny Rivero is proud to present his latest album, Golpe Duro, with Anthony Almonte.

From New York and after moving to Puerto Rico, he spent sixteen years with the Sonora Ponceña band and recorded eighteen highly respected albums.

He has played with many of the biggest and most respected names in Latin music, including nine-time Grammy Award winner Eddie Palmieri.

During that same time, Little Johnny formed his salsa band and his Latin jazz band and continued to teach percussion at Kennedy High School in the Bronx, NY. It was there that Anthony Almonte, a high school student at the time, would become one of his music students.

Little Johnny has always had a passion for writing music and over the course of four years since his last album, he was inspired to write once again. He set out to create a danceable album that would highlight the roots of Son Montuno, Guaracha Mambo, and Latin jazz.

The only thing missing was a singer. In a rehearsal, his friend and colleague Jeffery Lopez mentioned that there was a talented “new guy” on the block. He came down, and here he was, Anthony Almonte from Kennedy HS. As they say “the rest is history” and the result of their collaboration is Little Johnny’s latest album, Golpe Duro.

Website: Little Johnny Rivero

Article of Interest: Eddie Palmieri: A Memorable Career

Larry Harlow ¨El Judío Maravilloso¨ Salsa Legend

He is a traditional and important figure in Latin music.

Pianist, Multi-Instrumentalist, Arranger, Composer, Producer and Musical Director Lawrence Ira Khan “Larry Harlow el Judío Maravilloso” was born on March 20, 1939, in Brooklyn, New York, USA.

He traveled to Cuba in the ’50s, at which time he established his residence and began to study Afro-Cuban music. After gaining experience, he returned to New York to develop his own style and created his group “The Harlow Orchestra”.

Later, he participated in “The Fania All Stars”. During his years with Fania, Harlow recorded 35 albums as the leader of his own orchestra and another 20 as a member of Fania.

Harlow ha participado activamente en giras internacionales y en las principales ciudades de Estados Unidos. Actualmente, además de tocar con su banda, Harlow graba y dirige videos para artistas líderes en Estados Unidos y Europa. — Larry Harlow, creator and innovator of salsa.

He also produced more than 200 recordings for other artists, created and composed the first salsa opera, “Hommy”, which he orchestrated, directed and performed in New York and Puerto Rico.

Harlow stays active on international tours as well as in the main cities of the United States. In the present day, in addition to playing with his band, Harlow records and directs videos for standout artists from the United States and Europe.

Larry Harlow, a salsa composer.

The Latin music iconic pianist’s career in 10 recordings that marked an era and the history.

Heavy Smokin’ (1966)

Impresionado con la forma de tocar de la orquesta, Masucci se acercó a su líder, un joven pianista de origen judío llamado Larry Harlow, y le ofreció un contrato discográfico. Harlow sería el primer artista firmado con el nuevo sello Fania Records. Grabado con el cantante cubano Felo Brito, este primer LP incluye "La juventud", además de "Chez José", un homenaje al conjunto donde todo comenzó. — Heavy Smokin (1966)

In 1964, future salsa impresario Jerry Masucci went to the Chez José club to go dancing with his girlfriend in Manhattan. Impressed with the orchestra playing, Masucci approached its leader, a young pianist of Jewish origin named Larry Harlow, and offered him a record contract. Harlow would be the first artist signed by the newly-opened label of Fania Records. Recorded with Cuban singer Felo Brito, this first LP includes “La juventud”, as well as “Chez José”, which was a tribute to the club where it all started.

Presenta a Ismael Miranda (1969)

Aunque sus personalidades son completamente distintas, Harlow y Miranda graban una serie de LP explosivos con ritmos afrocubanos. Esta es su segunda colaboración y presenta algunas canciones de boogaloo, que estaba de moda en el momento. El bajista es Bobby Valentin, quien aporta tres temas, entre ellos el swing letal de "La Contraria". — Presenta a Ismael Miranda (1969)

In the late 1960s, Harlow found the singer who would bring his group to the aristocracy of salsa: a young Puerto Rican boy named Ismael Miranda. Although their personalities are completely different, Harlow and Miranda record a series of explosive LPs with Afro-Cuban rhythms. This is their second collaboration and features some boogaloo songs, which was the fashion of the moment. The bassist is Bobby Valentin, who contributes three songs, including the lethal swing of “La Contraria”.

Abran Paso! (1971)

Su sonido de trombón y trompeta alcanza un paroxismo de sabor en Abran paso !, anclado en tan maravillosas composiciones de Ismael Miranda como "Abandonada fue", "Donde llevas el son" y "Dolor y amor". El cantante aporta su sensibilidad puertorriqueña, mientras que las orquestaciones de Harlow se nutren de la tradición del son cubano. Una combinación de electrizante éxito artístico y comercial. — Abran paso! (1971)

While collaborating with the legendary Fania All Stars as a keyboard player, Harlow feverishly records, taking advantage of the explosion of salsa as a cultural phenomenon. His trombone and trumpet sound reaches a paroxysm of flavor on Abran paso!, anchored in such wonderful compositions made by Ismael Miranda as “Abandonada fue”, “Donde llevas el son” and “Dolor y amor”. The singer brings his Puerto Rican sensibility, while the orchestrations of Harlow are nurtured in the tradition of Cuban son. An combination of electrifying artistic and commercial success.

Homenaje a Arsenio Rodríguez (1971)

Junto a Miranda, compuso la canción "Arsenio", una salsa fuerte con sabor cubano y un clima de melancolía desgarradora. El resto del LP, que fue grabado en una sesión de ocho horas, está dedicado al repertorio de Rodríguez, con versiones extraordinarias de "Tumba y bongo", "No me llores" y "El terror", entre otros. Indispensable. — Tribute to Arsenio Rodríguez (1971)

When Arsenio Rodriguez (musical genius, blind, and pioneer of Cuban son passed away in Los Angeles in December 1970) Harlow quickly decided to record an LP dedicated to his work. Along with Miranda, he wrote the song “Arsenio”, a strong salsa with Cuban flavour and a climate of heartbreaking melancholy. The rest of the LP, which was recorded in an eight-hour session, is dedicated to Rodríguez’s repertoire, with extraordinary versions of “Tumba y bongo”, “No me llores” and “El terror”, among others. Indispensable.

Hommy A Latin Opera (1973)

Inspirado en la ópera rock Tommy del grupo inglés The Who, grabó Hommy, con la participación de Cheo Feliciano y Pete "El Conde" Rodríguez, entre otros. Harlow le pidió a Celia Cruz, que estaba desatendida por la industria de la música en ese momento, que cantara "Gracia Divina", que resucitó su carrera. — Hommy A Latin Opera (1973)

In the early 70s, Ismael Miranda decided to leave the orchestra of Harlow and pursue a solo career, which would cause animosity between them for a long time. Harlow began developing ambitious projects. Inspired by the rock opera Tommy by the English group The Who, he recorded Hommy, with the participation of Cheo Feliciano and Pete “El Conde” Rodríguez, among others. Harlow asked Celia Cruz, who was neglected by the music industry at that time, to sing “Gracia Divina”, which resurrected her career.

Salsa (1974)

Bajo el sencillo título Salsa, rinde homenaje a las raíces cubanas de la música tropical, combinando el sonido del trombón y la trompeta con dos violines que evocan la estética charanga de grupos como la Orquesta Aragón. Con "La cartera", una versión de una canción de Arsenio Rodríguez, Harlow logró su mayor éxito. Gracias a los cantantes Adalberto Santiago y Junior González surgió el sobrenombre de "El Judío Maravilloso" — Salsa (1974)

Harlow recorded one of his most significant albums in just two days. Under the simple title Salsa, it paid tribute to the Cuban roots of tropical music, combining the trombone and trumpet sound with two violins that evoke the aesthetics charanga made by groups like Orquesta Aragón. With “La cartera”, a cover version of a song by Arsenio Rodriguez, Harlow achieved his biggest hit. Thanks to singers Adalberto Santiago and Junior González, the nickname “El Judío Maravilloso” came about.

El Judío Maravilloso (1975)

Este LP del año 1975 sigue explotando un sonido épico con marcada influencia cubana. El tema de apertura, "El dolorcito de mi china", de Arsenio Rodríguez, tiene una duración de 10 minutos e incluye un solo de piano lleno de virtuosismo y expresividad. El auge de la carrera del tecladista no mostró signos de desvanecimiento, como lo demuestran sus versiones de "Buenavista guaguancó" y "El negrito ñéngere", así como el instrumental psicodélico "Latin Roots", compuesto por el propio Harlow. — El judío Maravilloso (1975)

Harlow continued to record prodigious albums, now with Junior Gonzalez as lead vocalist. This LP of the year 1975 continues to exploit an epic sound with a amarked Cuban influence. The opening track, “El dolorcito de mi china”, by Arsenio Rodriguez, lasts 10 minutes and includes a piano solo full of virtuosity and expressiveness. The peak of keyboard player’s carrer showed no signs of fading, as demonstrated by his versions of “Buenavista guaguancó” and “El negrito ñéngere”, as well as the psychedelic instrumental “Latin Roots”, composed by Harlow himself.

La Raza Latina (1977)

Harlow participó de esta tendencia con un musical, A Salsa Suite, que describe la evolución del género tropical desde África hasta el Caribe, pasando por Nueva York de los años 50 y 60 y culminando con una canción dedicada al futuro. Harlow contrató a Rubén Blades para que fuera su vocalista, aunque este no es su mejor momento. Un disco fallido y breve, pero fascinante en su ambición conceptual. — La Raza Latina (1977)

At the end of the 70s, salsa is fertile ground for grandiloquent experiments of a symphonic character. Harlow participated in this trend with a musical, A Salsa Suite, which describes the evolution of the tropical genre from Africa to the Caribbean, passing through New York of the 50s and 60s and culminating in a song dedicated to the future. Harlow hired Rubén Blades to be his vocalist, although this is not his prime. A failed and brief album, but fascinating in its conceptual ambition.

Larry Harlow presents Latin Fever (1978)

A fines de la década de 1990, cuando el interés por la salsa clásica había ido en aumento, formó la banda Latin Legends con el conguero Ray Barretto y el cantante Adalberto Santiago. Este primer disco cuenta con la participación de Pete "El Conde" Rodríguez (unos años antes de su muerte) e Ismael Miranda. El sonido es cálido y orgánico, enfatizando el conocimiento musical de estos veteranos. Según Harlow, era su banda favorita para tocar en vivo. — Banda de leyendas latinas de Larry Harlow (1998)

Harlow always showed the eclectic trends of a cosmopolitan musician. In 1970, for example, he recorded a rock record in the style of Chicago band with the group Ambergris. In 1978, he produced this fascinating LP by Latin Fever, a group consisting of 14 female singers and instrumentalists. These include percussionist Susan Hadjopoulos, who would become famous with English Joe Jackson, and the singer Ada Chabrier, who also collaborated with Ray Barretto and Willie Colón. A rarity that is worth discovering.

Larry Harlow’s Latin Legends Band (1998)

Harlow continued to record high-quality LPs in the 1980s. In the late 1990s, when the interest in classic salsa had been increasing, he formed the band Latin Legends with conguero Ray Barretto and singer Adalberto Santiago. This first album includes the participation of Pete “El Conde” Rodríguez (a few years before his death) and Ismael Miranda. The sound is warm and organic, emphasizing the musical knowledge of these veterans. According to Harlow, it was his favorite band to play live.

The Jewish Salsa Pianist, Innovative and Irreverent

This day 20 / 8 /2021 and after 32 days hospitalized “El Judío Maravilloso” Larry dies in New York at 12:30 a.m. from complications as a kidney patient that weakened his already weary heart.

Words of his wife Maria Del Carmen Harlow-Kahn

“Mi Amore, you are already free to play your music in the celestial orchestra. Thank you for the honor of accompanying you and loving you till the end of your life.

You will live forever in my heart and in the hearts of all who love your music and your huge legacy, fly high my Wonderful Jew and rest in peace.”

Sources:

Ernesto Lechner de AAPR

Artículo de interés: La voz de Markolino Dimond y su irreverente piano en Funk / Soul & Funk-Disco “The Alexander Review

What has happened with salsa in New York City recently

The ultimely passing of El Judio Maravilloso

Here you can see Larry Harlow — Larry Harlow

On August 20 this year, salsa fans around the world received of the devastating news about the death of Larry Harlow Kahn, who was one of the most transcendental figures of the Fania All-Stars at the time and Latin music in general. There have been many artists, writers and the general public have expressed their profound regret at the departure of pianist, leaving an unforgettable legacy and a profound mark in the minds of all those who admired him throughout his career.

According to what writer specialized in music Aurora Flores said, Harlow, also known as “El Judio Maravilloso”, marked a unique style with great ease and innovation while staying attached to his traditions. From the hand of Johnny Pacheco and Jerry Masucci, this musician became a talented producer and creator for much of the work done by orchestra La Fania, resulting an approximate of 270 recordings for other artists and a good number of hits that continue to be heard today.

This extremely talented pianist broke down all sorts of cultural barriers during his lifetime thanks to his great talent. He reached corners he has never dreamed of and will always be remembered for his great artistic endeavors.

Ricky Gonzalez and Angel Fernandez make donations to support the Salsa Museum

Johnny Cruz with two musicians — Angel Fernández, Johnny Cruz, and Ricky González

In recent days, it became known that both Ricky Gonzalez and Angel Fernandez have met with the director of the Spanish Harlem Salsa Gallery Museum, Johnny Cruz, to bring him with some highly valuable objects. Gonzalez is Marc Anthony‘s pianist and Fernandez is the musical director of his orchestra, so both musicians have much to contribute to the historic museum presided by Cruz.

In the particular case of González, he plans to offer some jackets that were worn by the famous Puerto Rican singer, while Fernández will offer a trumpet played at one of the many concerts offered by the boricua and his team. Together with the already mentioned objects, both artists pledged to collaborate in every way necessary to continue donating valuable acquisitions to the cultural institution. On the official Facebook account of Johnny Cruz, the president of the museum can be seen in the company of both musicians and some thanks from his part to both of them for supporting the Spaha Salsa Gallery, as this place is also known.

Migdalia Sánchez joins the Salsa Museum

Logo of the station Latino 99 FM

It has been announced that Migdalia Sanchez, the head of Latino 99 FM in Florida, has agreed to join the Salsa Museum with Johnny Cruz. This means that the aforementioned station will start broadcasting the programme hosted by Johnny Cruz at the same time so that all its listeners can enjoy it without a single problem.

Salsa returns to New York

Following the restrictions imposed by the local authorities due to the advance of COVID-19, many clubs and nightclubs have decided to open their doors again, but meeting each and every one of the health requirements for these places can be considered safe for the clientele.

Every day there are more well-known names that join the list of places that are working almost normally after all this time. Here we mention some of the places that have reopened their doors:

La Marqueta
S.O.B’s
González y González
El Sanjuan
Taino Towers Crystal Ballroom