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Alicia Muñoz, composer and vocalist extraordinaire from the island of Encanto

Greetings, consistent salsomanos and regular readers of International Salsa Magazine / www.salsagoogle.com, for us it is an honor to be with you again and on this occasion a pleasure to introduce you to an extraordinary composer and vocalist from the island of Borinquen, Alicia Muñoz.

Welcome, Alicia to International Salsa Magazine / www.SalsaGoogle.com, where we are constantly projecting and promoting the artists that stand out in our Latin music and we would like to share and learn more about your career and projects.

composer and vocalist extraordinaire from the island of Borinquén, Alicia Muñoz. — Alicia Muñoz Composer and vocalist from the Isle of Enchantment.

Thank you very much Carlos, for giving me this wonderful opportunity to be present in this media, where great exponents of salsa have interacted with special affection and shared their experiences.

Alicia, previously you told us that you were born in the town of San Sebastián de las Vegas del Pepino, in Puerto Rico, a region of great art on the island of enchantment?

Indeed, Prof. Carlos, I was born in that wonderful place, famous for its handicrafts, its Maguey hammocks and also recognized for being the birthplace of artists such as Sophy Hernandez, Alfonso Velez, Nito Mendez, as well as the composer Angel Mislan.

Amiga Alicia, we would like to know about your beginnings in music and when you started to develop your artistic career, and why your inclination for the musical genre of salsa?

In 2013, specifically on April 8, I debuted my album "Sin dudas" at the Luis Aymat Cardona Coliseum in the event "Jugando con las estrellas", along with renowned artists, among them: Michael Stuart, Abraham Velasquez, Bangi (Grupo Mania) and Boxing champion Tito Trinidad. — Alicia Muñoz Composer and vocalist from the Isle of Enchantment.

Wuaoo! of course, well professor, let me tell you that at the age of 4 years, my teacher, knowing the initial talent I had for singing, accompanied me and looked for places for me to sing, such as patron saint festivals, family events, and festivals, such as the now-defunct festival of San Sebastian, I had a great satisfaction thanks to God almighty, to win many awards for my voice, even as a little girl and I got to sing with the traditional group “Estampas Pepinianas”; but always salsa, as a good Puerto Rican I carry it in my veins.

Interesting start, and could you tell us when you begin to venture into the professional field and especially your first recordings?

Well, in 2013, specifically on April 8, I debuted with my album “Sin Dudas” in the coliseum Luis Aymat Cardona in the event “Jugando con las Estrellas”, along with renowned artists, including Michael Stuart, Abraham Velasquez, Bangi (Grupo Mania) and Boxing champion Tito Trinidad; there in that show I was cheered by the sovereign and with good praise for my musical work, let me tell you Carlos that my first musical production entitled “Alicia 2004”, had a very good acceptance Connecticut and then in Springfield Massachusetts. Later in 2009, I recorded my second production, which for personal reasons I did not release, but it sounded and sounds in radio stations and dance clubs; and among these songs are: “Que lloren” by Yvy Queen, “Bandido” by Ana Barbara, “Todos me Miran” by Gloria Trevi, “Báilalo, Báilalo” of my authorship, “Condenada a Tu Amor”, “Perdida a tu Amor” and “Cuéntale”. All of them were played on radio stations in Colombia, Uruguay, Peru, Dominican Republic, France, Spain, Puerto Rico, and the U.S. Ah! Friend Carlos, let me tell you that on February 14, 2015, a compilation of my previous musical productions was released, entitled “Que me pasa”.

Excellent Alicia, And as for these last 5 years, you have made recordings for the salsa and dancing public?

in 2018, I presented the singles: "Fácil" and "Pido Señor"; in 2019 "Cruzando Fronteras" and in 2020, "Salsa para el Cielo". — Blessings to all, I love you all very much, your friend, Alicia Muñoz

Indeed, in 2017, I released my single “Te Pido Señor”, which quickly climbed to the top of the Hit Parade of Latin music, then in 2018, I presented the singles: “Fácil” and te “Pido Señor”; in 2019 “Cruzando Fronteras” and in 2020, “Salsa para el Cielo”.

We understand Alicia, that a few days ago, you released your first single “Mi Lugar”, where you manage to mix the freshness of your angelic voice with the swing and flavor of good salsa for music lovers and dancers, tell us about it:

Very well, friends International Salsa Magazine / www.SalsaGoogle.com, and thanks to you, professor Carlos Colmenárez, I want to present you, my new song “Mi Lugar”, which is a composition by Jorge del Valle, arrangements and musical direction by Víctor Gámez, mixed and mastered under the hands of Jose Guerrero from Josmastering Studios Venezuela and with the masterful instrumentation of different musicians such as Luis Ruiz on trumpets, Johan Escalante on trombones, Euro Zambrano on percussion, Victor Gamez on piano, Chelo Bolivar on bass and Venezuelan Marcial Isturiz, on backing vocals; by the way, this work was recorded at A & R Recording Studio, M.A; so I hope it is to your liking and you can enjoy it on digital platforms.

And finally, friend Alicia, we want to wish you the best of success in your excellent and ascending artistic career and to our readers, we recommend you to follow your songs, which are full of message and Latin flavor. From Venezuela and all over the world we send you our sincere congratulations for your perseverance, professionalism, and interpretative quality; you are a pride of Puerto Rico…

Very grateful for those words, Carlos, and a big kiss to all those readers International Salsa Magazine / www.SalsaGoogle.com, which, I will carry in my heart through my melodies that with much affection I bring to enhance our Latin music; for bookings and contact you can do it through my representative Alicia Muñoz from New York City, at + 1 (203) 632-7427.

Blessings to all, I love you all very much, your friend, Alicia Muñoz.

Article of Interest: Gerson Aranda “La Tabla de Caracas”

By: Carlos Colmenárez Correspondent in Venezuela

International Salsa Magazine

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The Superimposition of Conguero Eladio Pérez

Conguero Eladio Perez was born on May 5, 1946, in Cataño Puerto Rico

He alternated at the side of renowned orchestras and stellar figures of Salsa. He was a great percussionist with a career that includes collaborations with Tito Puente, Tito Rodríguez, Tommy Olivencia, Justo Betancourt, and Puerto Rico All-Star, one of the main ones is the one he did with Eddie Palmieri, with whom he recorded nine albums, four of which won Grammy awards.

Eladio gained fame as a member of the Orquesta del Maestro Eddie Palmieri, appearing in the band for the first time in the album Superimposition.

The Superimposition of Conguero Eladio Pérez — Conguero Eladio Pérez was born on May 5, 1946, in Cataño, Puerto Rico.

His first recording was with La Orquesta del Maestro Eddie Palmieri in 1970.

“A real scorcher from Eddie Palmieri as much a transition as Superimposition and the kind of record that would have a huge impact on Latin jazz in the 70s! Eddie’s got one foot in the small group styles of his 60s work, but he’s also reaching forward in a mode that’s rootsy and modern at the same time a back-to-basics approach that’s tremendously focused on the rhythm, and which mostly uses heavy percussion and piano to layout the grooves then tops them off with some jazzier riffing on brassy horns.”

Eddie’s piano is sublime throughout — crackling with life and energy that barely made it onto record before, and hitting notes that are modern, yet which sit comfortably next to the earthier grooves of the rest of the band. Ismael Quintana’s on lead vocals.”

He was a member of that “Ecuación Palmeriana” of the song 17.1 (download included in that LP) together with Chucky López and Nicky Marrero (it was said that 17.1 was the average age of the three young percussionists).

Eladio Pérez participated in the recordings of Vámonos Pa’l Monte, Harlem River Drive, the live LP at the University of Puerto Rico, and the two Salsa Grammy winners (Sun of Latin Music and Unfinished Masterpiece).

He was a member of the "Ecuación Palmeriana" of the song 17.1 (download included in that LP) together with Chucky López and Nicky Marrero (it was said that 17.1 was the average age of the three young percussionists). — Eladio Perez participated in the recordings of: Vámonos Pa’l Monte, Harlem River Drive, the live LP at the University of Puerto Rico and the two Salsa Grammy winners (Sun of Latin Music and Unfinished Masterpiece).

In the anthological song “Un Día Bonito” there are two congueros: Tommy López Sr. is the soloist in the opening rumba guaguancó and Eladio descarga in the solo accompanied by the entire band.

Around the same time he formed the Orquesta La Única with Julio Castro, Carlos Santos and Junior Córdova.

Years later, in 1976, Pérez was recruited by Frank Gregory to be part of the Puerto Rico All-Stars.

Charlie Palmieri and Roberto Roena also enlisted the services of the percussionist. When Eddie Palmieri returned to Puerto Rico and formed his new orchestra, he again called upon the conguero from Cataño, who shared credits with Giovanni Hidalgo (bongo) and Charlie Cotto (timbales).

1973, unloading of timbales in Panama with the man from Toa Baja Héctor Endel Dueño Rivera and the orchestra of maestro Tommy Olivencia in the song Cuero Na’ Ma where Eladio Pérez on congas, Papy Fuentes on bongos, with the intermission between each unloading of Reynaldo Jorge, Victor Candelario on trombones, the voice of Sammy González with the chorus of Paquito Guzmán and Papy Fuentes.

This song comes from Tommy Olivencia’s album “Cueros…Salsa y Sentimiento” from 1971 for the Inca Records label, but it was originally composed by Tito Puente in 1949 when he had Vicentico Valdés on vocals and Manny Oquendo on bongos.

In 1973 the Orquesta LA UNICA and Friends with the song PA’ LA RUMBA that comes on the album of the same name, composed and sung by Junior Córdova, with the direction and bongos of Julio Castro, the congas of Eladio Pérez, the timbales of Pedro Roque, Angel Rivera on piano, the trumpets of Joe Cepeda, Roberto Ramírez and Norberto Torres among others.

One of the last times we saw his name in recording credits was on Justo Betancourt’s Mató album.

On July 30, 2018, he dies while hospitalized at the Puerto Rico Veterans hospital.

El Conguero Eladio Perèz…Caballero

Around the same time he formed the Orquesta La Única with Julio Castro, Carlos Santos and Junior Córdova. — The Superimposition of Conguero Eladio Pérez

Facebook: Eladio Pérez

Article of Interest: Bella Martínez presenta “Las memorias de Jimmie Morales: un conguero para la historia”

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Flashback: Arturo “Chico” O’Farrill

The Architect Of Afro-Cuban Jazz

Arturo "Chico" O'farrill with reading glasses and sitting — In memory of the 20 years of his physical disappearance

Arturo O’Farrill, better known as “Chico” O’Farrill was born on October 28, 1921, in Havana (Cuba) at the height of Son. He had a normal childhood like any son of a Jewish family raised to continue the family profession, Law.

In the 1930s Chico was admitted to the Riverside American Military School in Gainesville, Georgia. His father, an eminent Irish lawyer recognized in the Afro-Caribbean country, decided to intern him to continue his studies.

During his stay at that institution, O’Farrill discovered the great jazz orchestras that made life in that territory. Those bands were known by the name of Big Bands. He entered that musical environment and began his process of love and passion for the industry. He listened to recordings by Benny Goodman, Artie Shaw, Glenn Miller, and Tommy Dorsey while learning to play the trumpet on his own. In almost immediate time Chico became the trumpet player for the school’s military band and large dance groups.

Years later, Arturo returned to Cuba. He studied the same profession as his father (Law) and at the same time with his studies, he developed his facet as a composer. He received composition and harmony classes from important island musical instructors such as Félix Guerrero.

His progress, determination, and development in music were unstoppable. He was a member of the Armando Romeu Bellamar Orchestra and the Isidro Pérez Orchestra at the time of Mambo and Son, rhythms that prevailed and enhanced Latin music for decades.

MUSICAL HISTORY

Arturo "Chico" O'Farrill seated and in black and white — Chico O’Farrill dabbled in rock

“The Architect of Afro-Cuban Jazz” worked for four years (1943 – 1947) in Montmartre, the Cuban cabaret with the greatest French style. In the same way, he belonged to the Bellamar Orchestra, directed by Armando Romeu with Luis and Pucho Escalante, and Mario Romeu, among many other members.

As a trumpeter, Arturo traveled to Mexico and Europe. He created Los Raqueteros del Swing band, being the director and member of the orchestra. Subsequently, he founded Los Beboppers (the first Cuban bop group) with continuous performances at the Hotel Saratoga. Here, Chico was once again at the helm as director of the band and musician with his related instrument, the trumpet.

In the 1950s he began his successes as an arranger, working briefly for various musical directors such as Gil Fuller, Noro Morales, Frank “Machito” Grillo, and Benny Goodman.

Likewise, he composed his first masterpiece, Afro-Cuban Jazz Suite in five movements: Canción, Mambo, 6/8, Jazz, and Rumba Open. This masterpiece of composition was made and recorded for the imprint of the businessman Norman Granz, with the Machito Orchestra as the rhythmic base and accompanist.

The expert comments on Afro-Cuban Jazz Suite were numerous, but here are two of the most outstanding opinions:

Luc Delannoy: “It begins and ends with a hypnotic flute and conga duo that reflects the essence of Cuban treatment; the union of musical universes: the European (the flute) and the African (the conga). These two instruments are joined by the oboe, followed by the trumpets, saxophones, and the double bass “Tumbao”… After a return to swing and bebop in the fourth movement, Chico takes us back to the origins of Latin jazz with a melody of clear Arabic accents, before immersing himself in the universe of Afro-Cuban percussions.”

And Benny Carter commented on the Afro-Cuban Jazz Suite the following: “The reason for the coherence of the rhythmic parts and their relationships with the solos that have their own life and independence, Masterpiece of a genius.”

Arturo "Chico" O'farrill dressed in black and with a red background — His last album was Heart Of A Legend

After the enormous success of this powerful piece of music, O’Farrill wrote Cuban Fantasy for Stan Kenton during his stay in New York (EE.UU). However, Kenton eventually changed the name of the piece and it was called the Cuban Episode.

In 1953 he moved from New York to the California state and founded his orchestra with renowned musicians such as Mario Bauzá, Doug Mettome, Jimmy Nottingham, Eddie Bert, Fred Zito, Lenny Hambro, Flip Phillips, and the saxophonist Eddie Wasserman. The orchestra used the Afro-Cuban rhythmic section of Machito, harp, and oboe.

Under this concept, he recorded for Norman Granz and performed in two emblematic venues of the American Jazz music scene: Birdland (New York) and Hat Ballroom located in Los Angeles, California. During this period he composed three new movements: “La Jungla”, “Contrast”, and “Rhumba Finale”, baptized as “Manteca Suite”. The latter recorded in 1954 with Jazzist Dizzy Gillespie and an orchestra with 21 talented musicians.

In 1956 he returned to Cuba in search of inspiration and immediately began to work for the best record companies such as Panart and RCA Víctor. In this record label, he made “Chico’s Cha-Cha-Cha”, adapting the Charanga rhythm to the Big band format. This album was released, once again, on compact disc by BMG during the last decade of the 20th century.

Two years later the restless O’Farrill traveled to Mexico due to the great platform that this country provided for Latin American musicians at the time. During that residency, he once again stood out with a special sound. He appears on television as music director for singer Andy Russell, and there his life takes a dizzying turn. He started the semi-retirement period but never stopped composing. By that time, he composed his next and one of his greatest works “Azteca Suite” for trumpeter Art Farmer. And he made history once again!

In the 60s and with the rise of rock, Chico returned to New York and made arrangements for such important figures as La Lupe (They Call Me La Lupe); Cal Tjader (Along with Comes Cal); Count Basie (High Voltage); Gato Barbieri (Chapter Three: Viva Emiliano Zapata); Ringo Starr (Night and Day) and dabbled in Rock music with David Bowie (I Know That It Will Happen and Looking for Lester) and finally was the director of the Venezuelan Aldemaro Romero’s Orchestra.

In this stage that lasted until the end of the 20th century and already in the 70s, the Big bands went from being an innovation to being displaced by other rhythms that were rapidly increasing in popularity. These genres used new techniques, styles, sounds, and harmonies. It led to the appearance of icons in Jazz and the disappearance of the exclusive Bing bands for ballroom dancing.

For this reason, Chico O’Farrill reinvents himself and begins to work in the lucrative field of music for audiovisual advertising.

Arturo "Chico" O'farrill in black and white — Pure Emotion album earned a Grammy Award nomination for Best Latin Jazz Performance

In the mid-nineties, American Jazz producer and director Todd Barkan contacted the “Afro-Cuban Jazz Architect” to pay tribute to his career with a compilation of his musical hits. The name of the album was Pure Emotion and it got a nomination for Best Latin Jazz Performance at the 37th Grammy Awards.

O’Farrill toured Europe with his orchestra in 1996 and recorded his latest album entitled “Heart Of A Legend” with 14 tracks.

For this album, they had an orchestra of 18 musicians and a collaboration of international artists. The arrangements and musical direction of “Heart Of A Legend” were in charge of his son Arturo O’Farrill Jr. and who continues with his legacy.

On June 29, 2001, at 80 years old in New York City, Arturo “Chico” O’Farrill passed away.

Undoubtedly, Chico O’Farrill was always a visionary, and he was at the forefront for more than half a century of the musical genre today recognized worldwide as Latin Jazz.

In memory of the 20 years of his physical disappearance

Arturo “Chico” O’Farrill Forever!

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Mozart & Mambo

The Instrumental Music Album With The Major Projection Of 2021

Sarah Willis playing the French Horn with Yuniet Lombida playing the saxophone — Mozart & Mambo was recorded in Havana (Cuba) in January 2020

After six years of Horn Discovery, Sarah Willis brings us in her third album the discovery of two worlds through a completely harmonic and natural fusion. Her album Mozart & Mambo combines solo pieces for Horn of classical music originating in Western Europe with the traditional rhythms of Cuba Island.

Sarah had this magnificent and unusual idea due to her multiple trips to Havana city to teach how to play this brass instrument.

“As a Horn player, I always wanted to record Mozart’s horn concerts … And when I met the Havana Lyceum Orchestra and its conductor José Antonio Méndez Padrón I had the idea of recording with them. I love the way they play Mozart. I love the way Pepe works with them… So, what better way than to mix some pieces of Mozart and Mambo? Then, we have pure Mozart. We also have some purely Cuban songs, but we also have a wonderful fusion of Mozart and Mambo. And, It is the title.

… The main concert on the album is the third concert for Mozart Horn, which is one of my favorites… It’s a catchy tune… I have an arranger in Australia called Joshua Davis, and I said, listen! I have this crazy idea.

– I want to turn this piece into a Mambo.

– He said, sure, no problem.

But he didn’t know much about Cuban percussion. So, I said:

– I have the ideal person to help us.

And I turned to a wonderful musician from Cuba, Yuniet Lombida, who plays the saxophone on the album and is one of the best saxophonists in Cuba”. Willis commented on a digital medium.

The splendid trio between the first woman in the brass section of the Berliner Philharmoniker, the Havana Lyceum Orchestra under the baton of José Antonio Méndez Padrón (Pepe), and the consecrated saxophonist from Havana, Yuniet Lombida managed to create an exceptional experience among the Concerts for Mozart Horn and Caribbean intercalated rhythms: Mambo, Son, Salsa, and Bolero.

Harold Madrigal, Yuniet Lombida, Sarah Willis, Pepe Méndez, and Jorge Aragón

The album consists of 10 Tracks, which stand out: Rondo Alla Mambo and the two great Cuban classics Dos Gardenias and El Manisero with arrangements by Joshua Davis and Yuniet Lombida. Likewise, Rondo K. 371 and the first movement of Eine Kleine Nachtmusik (titled Sarahnade Mambo) demonstrate the subtlety of classical music with the interventions of the Cuban tradition, extolled by the Havana Lyceum Orchestra. In the other hand, the trumpeter Harold Madrigal Frías displays his virtuosity in the album with the pieces: El Manisero, Dos Gardenias, and Qué Rico El Mambo.

For this month, you will be able to witness this extraordinary musical fusion live at the Rheingau, Kultursommer Nordhessen, Young Euro Classic festivals in Berlin City, and Elbphilharmonie in the town of Hamburg in Germany.

Much of the proceeds from the purchase of the Mozart & Mambo album are for the benefit of the Havana Lyceum Orchestra to provide them with modern and new musical instruments.

Who is Sarah Willis?

Based on the biography written by Sarah

Sarah Willis in black dress with French horn on her legs — Sarah Willis was included on Queen Elizabeth’s Birthday Honor Roll, which indicates that she has been granted the title of Member of the British Empire

“People often ask me for more details about my life and my career. No dates or names, but about the how and why. So, I share a little more of the most influential and inspiring events of my life playing the Horn.

… It is true that I decided to play the Horn in my first Trumpet lesson. Actually, my first teacher was the Trombone and I adored it and the Trumpet, so I practiced as much as I could… I was used to practicing. My parents were quite strict about it, something for which I am very grateful.

… School became quite a lonely place as my classmates didn’t understand my passion truly.

… I must say that being a member of various youth orchestras was one of the most important and enjoyable parts of my musical training. Here, I met other young people who did not find it strange to spend a lot of time just practicing and listening to classical music.

After 3 years at the London music school, I “discovered” Berlin. The city was incredibly vibrant and exciting, and the first time I heard the local Philharmonic live, I decided that I had to be as close to this orchestra as possible, so I moved there. My first job was with the State Opera under the direction of Daniel Barenboim in 1991, just after the fall of the Wall that ran through the capital, so it was a very exciting time to be in the city at that time.

In 2001, I won the position at the Berliner Philharmoniker, something I had dreamed of since I first heard them play.

I started playing an Alexander horn when I was 16 years old. It was very unusual in England! I fell in love with the sound of this speaker and would not play anything else.

… My day job takes up most of my time and mental space, but since I started doing interviews with soloists and conductors for the Digital Concert Hall of the Berlin Philharmonic Orchestra (BPh) and I became involved as a mentor and presenter of the BPh on YouTube since 2011, I have become very passionate about online music communication.

I started Horn Hangouts (musician talk show) in 2013 and have been presenting the Sarah’s Music TV show (conversations format with conductors, students, musicians, and dancers) for Deutsche Welle TV since 2014.

I love doing both with passion and I enjoy connecting with musicians from all over the world, reaching out to people who may not have easy access to live concerts or teachers”.

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Bobby Valentin, the King of Bass at the Fania All-Stars Machinery

Bobby Valentin The mind of a master

Roberto Valentin “Bobby Valentin” was one of the main collaborators and arrangers of the Fania All-Stars in the 1970s, over which time he also recorded numerous solo albums. Born in 1941 in the locality of Orocovis, Puerto Rico, he began playing guitar as a child and won a contest with a band that he conducted himself at the age of 11.

He began his trumpet studies at the age of 15 shortly before he moved with his family to New York, where he continued his studies under the direction of Carmina Caruso. In 1958 he started his professional career with the Joe Quijano’s Orchestra.

Valentin spent the next several years working as a trumpeter, guitarist, bassist and arranger for artists such as Willie Rosario, Charlie Palmieri, Ray Barreto, Tito Rodríguez and Willie Bobo, until the year 1965, when he debuted with an orchestra to his name by releasing two albums, one of them was under Johnny Pacheco‘s Fania label.

Bobby Valentin, the King of the Bass

During the following years, Valentin continued to release albums to his name under the Pacheco’s label, but he also began recording and making arrangements for the label’s band, the legendary Fania All Stars, which had the presence of important figures as Rubén Blades, Celia Cruz, Willie Colon, Eddie Palmieri, Papo Lucca, Mongo Santamaría, among many others.

In 1975, he began recording for his own label, but his work with the Fania All Stars goes on until the day. Since then, the musician continues to perform with his orchestra for the most important salsa and jazz festivals from all over the world, while at the beginning of the decade Valentin contributed arrangements for some Pacheco‘s songs, it was only natural that he released his albums under his new label.

Fania All-Stars, to which he helped define the sound through his bass playing, in classic albums of the 1970s such as the Tribute to Tito Rodríguez or the live album at Yankee Stadium. — Bobby Valentín moved with his orchestra to Puerto Rico in 1968.

And while Bobby Valentin moved with his orchestra to Puerto Rico in 1968, he continued to travel often to New York to record for Fania, in addition to working and arranging songs for the label’s band, the Fania All-Stars to which he helped define the sound through his bass, on classic albums of the 1970s like the Tribute to Tito Rodriguez or the live album at Yankee Stadium.

In 1978 he began recording for his own label, Bronco Records, through which he recorded “La boda de ella“, a song that became one of the most important of his career.In addition to continuing to release albums for his own label, the latter of which saw the light in 2016 under the name “Mi Ritmo es bueno” and Mind Of A Master in 2018.

The pop classic The Twist composed by Hank Ballard and popularized by Chubby Checker in 1960, now sounds in salsa clave in a new version created by musician, arranger and composer Bobby Valentin y su Orquesta.

For award-winning Puerto Rican composer, arranger, producer and musical director, to remember is to live, as a result of which he presented the song in Spanish and dance in order to interest the new generations.

“When I was based in New York, this was a boom, Chubby Checker recorded it! At that time, what was done in rock & roll and today’s music is called salsa and it was all about dancing. There was the chachachá, the pachanga, the boogaloo… Everything was visual, with dancing! Chubby Checkerwas in all the TV shows… I recorded the song a year and a half ago, but the premiere was pushed back for the pandemic. I figured I could do it in salsa without losing the essence of that time,” he said.

Fania All-Stars Roberto Roena, Bobby Valentín, Johnny Pacheco

The Twist https://youtu.be/zf-SjdhbH9M

Sources

Amarie Magazine

Fania