Directory of North American nightclubs |
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Search Results for: Van+Van
Europe / August 2026
| Karina Bernales present | August 2026 | FESTIVALS |
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Latin Heat KlagenfurtAug 1 / 2, 2026 Der Sandwirth € 89 |
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Latina Istriana FestivalAug 6 / 11, 2026 Dom Hrvatskih Branitelja € 140 |
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Salsa Festival PragueAug 21 / 24, 2026 Hotel Olympik € 249 |
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Musicality Summer
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SBK Festival HamburgAug 7 / 9, 2026 GINN Hotel Hamburg Elbspeicher € 165 |
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Berlin Salsacongress
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Festival Timba Paradise 9Aug 27 / 31, 2026 Congresshalle Saarbrücken € 199 |
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Dance Casa FestivalAug 28 / 31, 2026 Europa Event Center € 170 |
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Bachaturo FestivalAug 14 / 16, 2026 MCK – International € 173 |
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GOZADERO LATIN FESTAug 6 / 10, 2026 Hotel Dorna € 160 |
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Timbatonazo Summer FestivalAug 20 / 23, 2026 Hotel Don Angel € 115 |
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World Dance
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Directory of European nightclubs |
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 Adenauerallee 3 20097 Hamburg, Germany |
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 Av. del Vallès, 117 08223 Terrassa, Barcelona, Spain |
 C/ Olvido 15 28026 Madrid, Spain |
 Carrer del Perill 10 08012 Barcelona, Spain |
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Hector Rivera ‘‘Riverita’’ tells the story of how he created Riverita Y Su Orquesta Noche Caliente
After several attempts, we finally managed to meet with bandleader and saxophonist Héctor Rivera, known in the industry as Riverita, and ask him all kinds of questions about his artistic career and his current group, Riverita y Su Orquesta Noche Caliente.
Here are some of the most important issues we touch with the artist during our pleasant conversation:
Riverita’s inspiration to become a musician
Despite not having musicians in his family, Riverita remembers growing up in an environment where music was always very present. He was born in New York, but spent long periods living with his grandparents in Puerto Rico while his parents settled down and eventually moved to the “Island of Enchantment” to give their son greater stability.
At his grandparents’ house, he used to listen to great artists of the time performing their unforgettable hits on the radio and one of them was Mon Rivera Y Su Orquesta performing “Karakatis-ki,” a song he never forgot, along with so many other musical pieces that gradually got him interested in this world. When his parents returned to Puerto Rico and he returned to live with them, he started listening to Cheo Feliciano, Pete “El Conde” Rodríguez, Felipe Rodríguez, and many others.
All these rhythms led the boy to play a sort of percussion on the table, a biscuit tin, or anything else that served as an instrument for him at the time.
His passion for music grew to the point that he began studying music education at the Escuela Libre de Música in Ponce and, subsequently at the Inter-American University of Puerto Rico in San Germán, where he studied for only about two years. Although he did not complete his studies, this helped him to understand even more the profession and apply what he learned during those years.
Being in Puerto Rico, he played with a merengue orchestra whose name he does not remember, but with which he learned to play alto saxophone professionally. After that, he moved to the United States permanently.
Year 2013
As he moved to Virginia, he took a long break from music until 2013, which is when his cousin, Michael Valladares, asked Riverita to found an orchestra, which was not in his plans. However, he accepted the challenge and carried forward the project.
Back then, the artist worked as a mailman at a post office, making it difficult for him to reconcile his previous professional activities with the direction of an orchestra. Still, he did not allow that to discourage him and chose to give priority to this new ensemble.
It all started when Michael was looking for an orchestra to perform at a gala event to celebrate 500 years of the city of Melbourne, Florida, so he contacted Riverita and proposed him to create an orchestra in which he would serve as musical director for the sole purpose of performing there. That was when the saxophonist set about finding musicians and producing a repertoire, which was not easy, since he did not know any professional musicians and did not have any arrangements he could use.
He was so distressed that he spent sleepless nights thinking about how to proceed to complete the mission entrusted to him. With three months to go, he had no time to spare. That is when he managed to make contact with a group of musicians of different nationalities, of whom only the singer, José Reyes, continues to work with him.
Finally, he relaunched the project with a new group of musicians—since the previous ones had left and called it Orquesta Noche Caliente, a name that it still bears today.
Among the most frequently recurring members, we can mention singer José Reyes, singer Danny Rivera Jr., pianist Kevin Figueroa, and trombonist Derick Harris.
To date, they have recorded three CDs and 26 songs. Some of them are “Noche Caliente,” “En Tiempos de Bolero,” and “Mi Linda Música.” They are also preparing their Christmas song several months in advance and will name it “Rabito de Lechón.”
First Huelva Salsa Festival
Europe / Spain /
First Huelva Salsa Festival. Afro-Cuban rhythms make their debut in Huelva’s nightlife
By Javier Corrales García: Salsa is synonymous with joy and delight; it is a collection of sensations evoked by the drum. Salsa is beauty; it is youth within experience—like the wood of an old tree with buds constantly sprouting. Salsa is a world unto itself; Salsa is a syncopated beat in the heart.
Last August, in a corner of southern Spain, a stage was set up facing a monument sculpted by Miss Whitney—a monument representing the spirit of discovery, specifically the European discovery of the wondrous lands of the Americas. This location in southern Spain is none other than the very spot from which Christopher Columbus and his crew set sail 525 years ago in search of new routes, only to stumble upon unknown lands—the port of Palos de la Frontera.
In the wake of that “accident” came a series of events, tragedies, and invasions, but also *transculturation*—a term coined by Fernando Ortiz to define the complex process of reciprocal communication between cultures. These mutual influences blended various cultures into one—rich like few others, and musically unparalleled.
August was the month when those three ships set sail, and August was also the month chosen to celebrate a magnificent festival featuring the music born of that transculturation: the First Huelva Salsa Festival. Seven orchestras showcased diverse styles—ranging from traditional *son*, *nengón*, and *changüí* to repertoires featuring sophisticated jazz arrangements that were both elegant and powerful, as well as the sounds of the genre known as salsa that dominated the Latin music scene in New York City during the 1960s and 70s.
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Salsa Festival
A look at the festival’s orchestras:
SON DE CUBA
A group of Cuban musicians led by *tres* player Leo Cabezas, featuring traditional *son* music as the main attraction. They opened the concert lineup on the first day in a stunning setting—the only concert held in Punta Umbría right on the beach sand—amidst the fabulous atmosphere typical of “El Mosquito” (a bohemian beach bar that champions live music and boasts what are likely the best sunsets in the province of Huelva).
In addition to the opening performance, they played the closing concert on the final day, inviting musicians from Troveros de Asieta to join them on stage.
LA CANDELA
Gilberto Miguel Calderón Cardona—known first as Sonny and later as Joe Cuba—would be proud of the legacy evident in the excellent work of La Candela. This young group has achieved a sound that stays true to the cadence and flavor of the famous “Big Apple” sextet—a feat that is notoriously difficult to pull off.
Dancers worldwide were fans of Joe Cuba, and La Candela—his worthy successors—are now gathering their own following within the dance community. They perform fantastic covers of Joe Cuba songs alongside original tracks packed with danceable flavor. This magnificent group from the Canary Islands comes highly recommended for music lovers, dancers, radio broadcasters, and—above all—organizers of dance congresses around the globe.
SEPTETO NABORI
After listening to their album *20 Años*, one could easily predict that their live show would be powerful; indeed, after the concert ended, they were the talk of the audience. It was a marvel to see these Cubans—long based in Italy—delivering the true flavor of *son* and giving it their all on stage.
Tracks from their album, such as “Ni pa ti ni pa mi” and “Santiago si la lleva,” lifted spirits during a magical night of salsa, *son*, *guaracha*, and mambo.
Their two *soneros*—Iván Antonio Rodríguez and Yoelis—were fascinating, possessing the distinctive voices of seasoned, old-school *son* singers. Luis Alberto Danger was sublime throughout the entire show.
Bandleader Alejandro Morcate kept the musical machinery running on guitar; bassist Raúl Cardoso added flavor with his syncopated swing; Monchi laid down the grooves on the *tres*; and Yoandy Armenteros and Jose Alberto Ávila handled the percussion, providing the rhythm and spice. A marvelous septet that captivated everyone present.
SONORA LIBRE
Mauricio Ochoa was missing—not because the replacement conga player lacked quality, but because Ochoa is the mastermind behind this superb work and deserved to witness the audience’s appreciation firsthand.
Sonora Libre ensured everyone had a fantastic time, serving as the perfect finale for the festival’s Friday night. Sebastián Cabra handled musical direction, showcasing magnificent arrangements—track after track—that infused the horn section with a strong jazz essence without losing an ounce of swing or flavor.
With lyrics ranging from upbeat *guarachas* to thought-provoking verses, and salsa played at full intensity, kudos to this stylish group based in Barcelona.
They wrapped up the night by mingling with the guys from Septeto Nabori—a *sonero* face-off filled with great vibes.
JÓVENES CLÁSICOS DEL SON
Led by bassist Ernesto Reyes Proenza, this Cuban group—with over 20 years of history—won awards right from the start. With “El Nene” on vocals, they achieved success that established them as a benchmark in reviving the importance of *son*—the quintessential Cuban popular genre.
During the concert, *sonero* José Antonio Rodríguez (“Pepitin”) kept the audience constantly engaged, making them dance non-stop to one song after another. They played with *son*, *changüí*, and even *nengón*—traditional tracks from their new album, *El Bar de Paco*, which is highly recommended for lovers of majestic *son*.
César Hechavarría delighted the crowd time and again with his mastery of the *tres* guitar, delivering rich improvisational solos that we wished would never end. José Manuel Rodríguez Arias radiated joy, dancing while playing the cowbell with great flair and rhythm.
ORQUESTA DEL SOLAR
The guys from Orquesta del Solar threw a fantastic *rumba* party—pure, authentic salsa. They mixed original songs with tasty classics like “Fulanito Malanga,” “Conciencia y Guaguancó,” and “Abran Paso,” as well as a crowd favorite among the night’s dancers: “Ahora Sí.”
Our sincerest congratulations go to Julio Mena for leading this superb orchestra for so many years as a national and international salsa reference point. They hold the prestige of having accompanied legends like Meñique, Jimmy Bosch, Cheo Feliciano, and Adalberto Santiago—a sheer delight for dancers!
The orchestra is highly appreciated by dancers and is a regular fixture at congresses and events catering to the dance community.
TROVEROS DE ASIETA
We wrap up our musical review of this fantastic event with the *son*-loving Canary Islanders. Returning to Huelva for the second consecutive year, they showcased their tight, cohesive quality—delivering an elegant, powerful *son* sound. Their exciting repertoire featured the *conjunto* style, including tracks like Arsenio Rodríguez’s “Mulence”—a song with quintessential *rumba* lyrics. A treat for both the ears and the feet—and on a personal level, they are humble, down-to-earth, friendly, and charming. The perfect finale to this magnificent festival!
ADDITIONAL ACTIVITIES – FIRST HUELVA SALSA FESTIVAL
The concert series was complemented by dance, percussion, and history workshops, offering a wide range of activities designed to bring the worlds of music and dance closer to the audience.
In short, a delightful festival offered free of charge thanks to the Huelva Provincial Council and organized by Música Fundamental, under the leadership of Carlos Ferrer. We are eagerly looking forward to the second HSF!
5th International Kizomba Gala Hamburg
Europe / Germany / Hamburg
07.-10. October 2016
Back to the Roots
Love is the Message!
One of the best Kizomba events in Germany which offers participants a highly stimulating and immersive experience of dancing with first class international instructors, who will teach you the proper way of dancing Kizomba, Zouk and other African & Latin Dance. An intensive 3 days Workshop is proposed for this purpose, starting from 9pm to 07:00 pm which will end with a Party. The Party will be thrill with Shows and Animations from the international instructors.
Line-up:
- Nelson Campos & Vanja Mula? (G Bissau / UK / Croatia) Donny (Cameroun / UK)
- Vitor Taveres & Ivona Szantova (Cape Verd/ Slovakis / Prague)
- Betrand & Celine (Cameroun. Swiss / France)
- Cazuza & Maria Sieriche (Angola / Angola / Strassbourg)
- Mams & Anthéa (Angola / Angola / Angola / France)
- DJ Cubanito (Angola / Manchester)
- DJ Lindt (Surinam / Rotherdam)
- DJ Ben (Ghana /Hamburg)
- DJ Zezom (Anglona / Copenhagen)
- DJ Alberto Sa (Paris / Lisbon /G Bissau)
More information at:
- http://www.kizombagala.com/
- https://www.facebook.com/events/574349666052350/