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Where to dance Salsa in London?

Europe/ England/ London

Where to dance Salsa in London?

We present you 5 options to go dance Salsa in London

Every place just promise delicious cocktails and a hearty food menu, also features salsa classes, cocktail masterclasses and fun-time Latin party vibes. In London there are all kinds of events and parties, and Latin music is not far behind. So you will find numerous options to enjoy a night of salsa in the English capital.

1.- Caramelo Latin Dance:

It’s a dance school with Salsa On1 and On2 classes, plus they have the option of doing an intensive salsa in one day, so if you go with your salsa friends to London, this is your chance to learn the basics, and leave to dance with them.

From time to time the school organizes an event for social dancing.

Address: Paddington Academy, 50 Marylands Rd, London W9 2DR.

Metro: Warwick Avenue

Call them: +44 7572 891570

2.- Hammersmith Salsa & Bachata Club:

6 levels of Bachata and Salsa classes followed by loads of social dancing. Absolute beginners always warmly welcomed. Make new friends, get fit, have fun and dance your night away. Every week DJ Incognito regularly play the latest Salsa, Bachata, Cha Cha and Latin music. Fun and friendly staff.

Address: 11 Rutland Grove, Hammersmith, London W6 9DH.

Call them: +44 7831 715368

3.- Salsa! Soho:

Partying is what they do, and they do it well! Party with them and you will get a big injection of Latin party vibe to your celebration!

They have menus to suit all occasions. Salsa classes every night of the week, amazing drinks menu with over 50 cocktails and of course non- stop latin music. Enquire about booking and plan your party.

Address: 96 Charing Cross Rd, London WC2H 0JG

Call them: +44 20 7379 3277

4.- Wimbledon Salsa and Bachata Club and Classes:

Fun & friendly classes for dancers of all levels. Plenty of high quality social dancing to the best and latest Salsa, Bachata, Cha Cha and Latin grooves. Absolute beginners warmly welcomed. High quality lessons from Beginners to Advanced. No prior bookings needed, just turn up and dance.

Address: 44 St George’s Rd, Wimbledon, London SW19 4ED

Call them: +44 7831 715368

5.- Revolucion de Cuba:

Rum Bar & Cantina. Unique, expertly made cocktails and Latin-inspired food, with amazing music and live entertainment. Feel-good Cuban vibes all year round! This is not only one bar.

It’s the story of a team of rum lovers, who knew that taking on this spirit meant capturing it. And that doing so would lead to a discovery of food, drink, dance and the culture that makes up one of the world’s most exciting and intriguing places: The island of Cuba.

Address: More of 15 locations in England, you can choose anyone!

Call them: +44 1423 226133

We hope this alternatives help you enjoy a great party. Tell us how do you spend the night dancing London.

Soneros Birthdays Party

Omara Portuondo, Ismael Rivera, Jimmy Bosch, and Luisito Carrión celebrate their birthdays this month

October is filled with talent and it’s that in this month a hurricane of brilliant artists of the Salsero genre was born, who have captivated us and have shown their Gift before hundreds of audiences around the world. These Latin Stars have bathed us in SABOR with their lyrics and infected with joy with their melodies. It for that, this month we celebrate their births and dance to the rhythm of the applause towards them. Happy Birthday, Soneros!

Omara Portuondo (October 29, 1930)

Omara was born in La Habana (Cuba). Her first encounter with music was at a very early age. Just as in any other Cuban home, the future singer and her siblings grew up with the songs which her parents, for lack of a gramophone, sang to them. Those melodies, some of which still form part of her repertoire, were young Omara’s informal introduction to the world of music.

She and her sister Haydee sang well-known American group “Los Loquibambla” and their style, a Cubanised version of the Bossa Nova with touches of American jazz, was known as “Feeling”. In their radio debut, Omara was introduced as “Miss Omara Brown, the girlfriend of Feeling”.

“Magia Negra” was her debut record released in 1959. It combined Cuban music with American jazz and included versions of “That Old Black Magic” and “Caravan”, by Duke Ellington. Later she joined one of Cuba’s most important orchestras, La Orchestra Aragón, with which she recorded several albums, such as the one she did with Adalberto Álvarez in 1984 and “Palabras and Desafíos” on which she was accompanied by Chucho Valdés.

However, Omara Portuondo catapulted to her well-earned fame was in the mid-1990s when she collaborated in the recording sessions for Buena Vista Social Club on which she sang “Veinte Años”.

She was the star of the third launching of the Buena Vista Social Club released in 2000 and she toured Europe, traveled to Japan, and performed in the USA and Canada.

Omara went back to the studio to record her second solo album “Flor de Amor” (World Circuit), which was produced by Nick Gold and Alê Siqueira, signals a change in direction in her career: it is an album marked by a more subtle sound and a richness of texture. Portuondo brought in a mixture of Cuban and Brazilian musicians for this album, and it is this factor which influences the particular style of the music.

Omara returned to Europe in 2004 to promote this album, performing at such illustrious venues as the North Sea Jazz Festival, Marble Hill House in London, Olympia in Paris and the Concertgebouw in Amsterdam. “Flor de Amor” was nominated for a Grammy in the Best Traditional Tropical Record category and the 16th edition of the Billboard Latin Music Awards (2005); this album obtained the Tropical Record of the Year award.

Later, Omara released “Gracias”, the record that marks her sixtieth year in the music business and won the Latin Grammy Award for the Best Contemporary Tropical Album. It was a very special night as Omara was there to receive the prize in person and she also presented one of the awards, the first time that a Cuban artist has done this. The album was also later nominated for a Grammy in the Best Tropical Latin Album category.

After touring with the Orquesta Buena Vista Social Club in Europe during 2010, “the girlfriend of Feeling” released the latest recording, Omara & Chucho (Montuno Producciones) in spring 2011. 14 years after their last joint album, they reunite once again to continue unravelling the thread of their first joint project, and show us their talents in the simplest, most unclad manner on a context that enables them to lay emphasis on some of the features that been characteristic of their music at various stages in their careers.

Omara will also tour with the Orquesta Buena Vista Social Club later in Europe and the U.S.

Ismael Rivera (October 5, 1931 – May 13, 1987)

Puerto Rican singer and songwriter contributed to the dissemination of the island’s native rhythms such as the Bomba and Plena, and he was one of the first standard-bearers of the Salsero movement of the decade, the reason for he was called “El Sonero Mayor” and also known for others by the nickname “Maelo”.

In 1952 he was hired as a singer for the Lito Peña’s Orquesta Panamericana with which he became known and reaped his first hits: “La vieja en camisa”, “La sazón de la abuela” and the most popular “El charlatán”, a song in Plena rhythm that was widely heard through the Puerto Rico’s local radio stations.

Two years later he left this group to join the Combo de Cortijo with whom he popularized “El bombón de Elena” by Rafael Cepeda Atiles, and as well as performed on Puerto Rican television in the “El Show del Mediodía”.

At the end of the ‘50s, they were presenting their shows at the prestigious New York club Palladium Ballroom, where they contributed to making popular the tropical rhythms imported from the island with great hits such as “El negro bembón”, “Maquinó Landera”, “Tuntuneco ”, and others.

Ismael Rivera’s triumphant career was interrupted in 1962 for paying four years under the laws of Puerto Rico for possession of narcotics. Then, after recovering his freedom, Ismael formed his musical ensemble “Los Cachimbos” and immersed himself in the nascent Salsero movement to which he contributed two classics such as “Dime por qué” y “Mi negrita me espera”.

In the mid-70s “El Sonero Mayor” became the ambassador of Salsa throughout America, working for the record label of the genre Fania, and triumphing with emblematic songs such as “De todas maneras rosas”.

In his facet as a composer, he wrote very notable pieces such as “Besito de Coco” (famous song by Celiz Cruz), “El incomprendido”, “Arrecotín, arrecotán”, “El que no sufre no vive”, y “Mi libertad eres tú among many others.

In his last years, he suffered a throat cancer that caused him to lose his voice and he died as a result of a heart attack. R.I.P MASTER!

Jimmy Bosch (October 18, 1959)

Jimmy Bosch was born in 1959 (New Jersey, U.S.). He is a world-renowned Trombonist, composer, singer, and bandleader in the world music genres. He has been performing professionally since age 13. Jimmy’s first two solo CDs, “Soneando Trombón” and “Salsa Dura” established him as the Ambassador of the Salsa Dura movement. He ignited this movement by combining old school quality salsa arrangements with a modern NY aggressive edge and socially conscious lyrics. “El Avión De La Salsa” demonstrates and solidifies his commitment to dancer centered music, while “A Millón” is the title of Jimmy’s 4th solo record released.

Appearing in over 100 recordings, Bosch “El Trombón Criollo de La Salsa” has garnered at least 10 Grammys and has toured with his orchestra, his sextet or as a solo artist, as well as with: Eddie Palmieri, Ruben Blades, Celia Cruz, Ray Barretto, Willie Colon, Manny Oquendo y Libre, FANIA Allstars, and the list goes on.

Jimmy has been featured throughout the world in major venues and festivals, including; Carnegie Hall, Lincoln Center (NYC), Celebrate Brooklyn (NYC), Montreal Jazz (Canada), Madison Square Garden (NYC), Sydney Opera House (Australia), Barranquijazz (Colombia), El Poliedro and Teresa Careña (Venezuela), and many other important places.

Luisito Carrión (OCTOBER 26, 1962)

A native of Arecibo in Puerto Rico, Luisito Carrión has been singing since he was 13 years old. He began his career as a Salsa artist with the Orquesta Kafe, Orquesta La Nativa and Grupo Concepto Latino.

In his first performances, he sang along with Celia Cruz, Adalberto Santiago, and Santitos Colón. Later on, he was a member of Salsa Fever together with Julio “Gunda” Merced, were several hits come from: “Renta de Amor” and “Señores ahí va Julián”. Afterward, he joined the Bobby Valentín Orchestra, where he sang songs, such as: “El Señor de las Señoras”, “Ramos de flores”, “El Gigoló”, “Tributo de Cali” and “Como lo hago yo”. In his evolutionary process, Luisito joined the Orquesta Don Perignon where he sang “La Fuga” and later with the Sonora Porceña, where he performed songs, such as “Yaré” and “A Comer Lechón”.

In 1997, he recorded with Roberto Roena y Su Apollo Sound “Mi música 1997”. At the end of the 90s, Carrión began his career as a soloist with the record company MP Records with Julio “Gunda” Mercéd and Rafael Bodo Torres, which led to hits, such as: “Sin tu amor”, “La Chica Más Popular”, “Nadie Como Tú”, “Porque”, “Amiga Mía”, “Muriendo”, “Como Ave Sin Rumbo” and “Para Ser Real”. Nowadays, Luisito Carrión is one of the best Puerto Rico’s Soneros bringing on “Histeriaaaa…” in his fans.

Arturo “Chico” O’farrill

North America / United States / New York

Arturo “Chico” O’farrill “The Afro-Cuban Jazz Architect”

Arturo O’Farrill or better known as “Chico” O’Farrill was born in Havana (Cuba) on October 28, 1921. He was the son of a recognized Jewish family whose father was an eminent lawyer whom one day decided to immigrate to the United States. Arturo undertook his studies at the Riverside Military School in Gainesville, Georgia (interned by his father).

He began to love the jazz orchestras (big bands) and within that environment he fed musically, listening to recordings of Benny Goodman, Artie Shaw, Glenn Miller, and Tommy Dorsey, so much, that in a brief time he learned to plays the trumpet and became the trumpet player of the military band as well as the several dance groups.

Years later, Chico returned to Cuba. He studied law and at the same time developed his facet as a composer, receiving a composition and harmony study with the master, Félix Guerrero. Likewise, he was also Armando Romeu Bellamar Orchestra’s member and the Isidro Pérez Orchestra, when the Son and the Mambo prevailed in the Latin music.

TRAJECTORY

From 1943 to 1947 “The Afro-Cuban Jazz Architect” worked at the cabaret Montmartre. He was a member of Bellamar Orchestra, directed by Armando Romeu and integrated by Luis and Pucho Escalante, Gustavo Mas and Mario Romeu, among others. He traveled to Mexico and Europe as a trumpeter musician as well as he created the band, Los Raqueteros del Swing, being the director and trumpet.

Subsequently, he founded Los Beboppers (the first group of Cuban bop), which was presented at the Saratoga Hotel with Chico again as the director and the trumpet.

In the ‘50s decade began the successes for Chico as an arranger, working briefly for several orchestra directors, such as Gil Fuller, Noro Morales, Frank “Machito” Grillo, and Benny Goodman.

In the same way, he composed his first great masterpiece “Afro-Cuban Jazz Suite” in five movements: Song, Mambo, 6/8, Jazz and Rumba Open. This masterpiece was made and recorded for the businessman Norman Granz’s label, using the Machito’s Orchestra as an accompanist and rhythmic base.

“Afro-Cuban Jazz Suite”, according to Luc Delannoy: “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).

To these two instruments is joined the oboe, followed by the trumpets, saxophones and the “Tumbao” of the double bass… After a return to swing and bebop in the fourth movement, Chico takes us to the origins of Latin jazz with a melody of clear Arabic accents, before sinking back into the universe of Afro-Cuban percussions”. Likewise, for Benny Carter, this Suite was: “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.”

In New York and following the success of “Afro Cuban Jazz Suite”, O’Farrill writes “Cuban Fantasy” for Stan Kenton, who later changes its name to “Cuban Episode”.

In 1953 he traveled to California, where he founded his orchestra that included renowned musicians such as Mario Bauzá, Doug Mettome, Jimmy Nottingham, Eddie Bert, Fred Zito, Lenny Hambro, Flip Phillips, and saxophonist Eddie Wasserman. The orchestra used the rhythm section of the Machito’s Afro-Cuban, harp and oboe. With this concept he recorded for Norman Granz, performed in Birdland (New York), and the Hat Ballroom located in Los Angeles. In this period he composed three new movements: “La Jungla”, “Contraste”, and “Rhumba Finale”, baptized as “Manteca Suite” recorded with the Jazz player Dizzy Gillespie and orchestra of 21 excellent musicians in 1954.

He returns to Cuba again in 1956 to be inspired and immediately began working for the best record companies on the island such as Panart and RCA Víctor, recording “Chico’s Cha-Cha-Cha”, adapting the Charanga rhythm to the big band format. This album is released, one more time, on compact disc by BMG during the last decade of the twentieth century. Chico also made a recording for the popular D’Aida Quartet and arrangements for Bola de Nieve and the famous Orchestra Director, Aldemaro Romero.

In 1958 the restless O’Farrill moved for Mexico, an essential platform for all Latin American musicians at that time. There he returned to create another special sound and appears on television as musical director of the Andy Russell singer, and there his life changed radically. He started a semi-retirement period, but never stopped creating music. At that moment, he composed his famous “Azteca Suite” for trumpeter Art Farmer, and he made history again!

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

This stage extends until the end of the 20th century, although already in the 70s, the big bands go down in history for several genres that would be manifested due to their novelty and immense popularity in the United States and around the world. The architects of the new fashion used new techniques, styles, and sounds, especially in the field of harmonization. Suddenly popular music stopped being exclusively for the ballroom and -of course- “new sound” icons appeared in the Jazz Music. For this reason, Chico O’Farrill begins working in the lucrative field of music for television commercials.

In the mid-1990s, “The Afro-Cuban Jazz Architect” was contacted by American producer and Jazz director Todd Barkan with Pure Emotion, a compiled of his musical career with which he got a nomination for the 37th edition of the Grammy awards.

O’Farrill toured Europe with his orchestra in 1996 and recorded his latest album titled “Heart Of A Legend”, which contains 14 tracks, a formidable orchestra of 18 masters and a staff of international artists. The arrangements of “Heart Of A Legend”, considered for many as the best album of his career, took care by himself and the musical direction was entrusted to his son, Arturo O’Farrill Jr., a formidable pianist and heir of his legacy.

Arturo “Chico” O’farrill died on June 29, 2001, in New York City at 80 years.

Undeniably, Chico for more than half a century was a great musical creator. He was at the forefront of an innovative style that many know as Latin Jazz nowadays, which was called at the beginning with many names, such as Cuban bop, Mambo Jazz and Afro-Cuban Jazz.

Our dear “AFRO-CUBAN JAZZ ARCHITECT” Until forever!

In memory of 18 years of his passing!

Balazo de Norteamérica:

Arturo “Chico” O’Farrill

“The Afro-Cuban Jazz Architect”

In memory of 18 years of his passing!

Hansel & Raul celebrate the New Year in a concert in California

North America/ United States / California

Hansel & Raul celebrate the New Year with an awesome concert in California

The Charanga Ambassadors in the world will say goodbye to 2019 presenting the most select of their repertoire of the great hits

Date: Tuesday, December 31^st

General Admission: 7:00PM

Cocktail Hour: 7:00PM – 8:00PM

Dinner: 8:00PM

Price: $120 (Adult) / $ 60 (Children under 12)

Venue: Crowne Plaza Los Angeles – Commerce Casino. 6121 East Telegraph Road, Commerce, CA 90040

The Charanga´s Legends will share all their talent with their fans for this last day of the year. This exceptional duo with 35 years of trajectory, time transgressor, continue to fill places to a full house in South America and the main cities of the United States, and this December 31, 2019, is the turn of Commerce city in Los Angeles County in California.

Hansel & Raul will be accompanied for the third time by Mr. Carlos Navarro orchestra, Son and Clave. This complicity of unique and singular talents has been joined in the different cities of the California State since the 90s, achieving the resounding success in each of their performances.

This duo formed in the Miami city in 1984 is still the Ambassadors of “La Charanga” with 330 recorded singles, six gold records and four platinum records for sales made, in addition to two Grammy awards with the album “Encore” in 1978.

Hansel & Raul, borne in Cuba, enjoy all their biggest hits summarized in their more than three decades of artistic career as a duo, and it’s for that the public will always have the last word when choosing the songs that they most prefer of these fantastic legends, but don’t worry, because Hansel assured us that their classics such as “Soy”, “María Teresa y Danilo”, “Ella”, “Ayer”, “Se me Nota”, and “Balancea mi Corazón” (songwriter Venezuelan, Yordano) among many others, will be present in this show of one hour and forty-five minutes.

But wait, here’s still more! If you want to enjoy these Legends with the harmonic concept originating from the island “La Charanga” in advance and you aren’t here this month nor next in the United States, don’t perturb, because Hansel & Raul will be visiting Colombia, Peru, and Ecuador in a Small tour of South America, returning in December for the “New Year´s Eve 2020” event in the United States.

“LA CHARANGA IS MY FAVORITE MUSIC …

… IT’S VERY NICE AND LIGHT…

… AND IT IS THE TYPICAL MUSIC OF CUBA.”

Hansel E. Martínez

Event Details:

http://www.HANSELYRAUL.com

Social Channel:

https://www.facebook.com/pg/HANSELYRAUL/

https://www.facebook.com/events/crown-plaza-hotel-and-casino/new-years-eve-2020-the-great-gatsby-presents-hansel-raul/271515257093512/

Carlos Medrano from Sabor De Mi Cuba tells us abut his long musical history

There is a tremendous amount of Cuban artists who have had to fight against economic adversity there is in their country, but this has not prevented them from getting ahead and fulfilling their dream of making a living from their art. One of them is the bandleader of Sabor De Mi Cuba Band, Carlos Medrano, with whom we had the pleasure to talk for this report.

Carlos Medrano was born in the city of Havana, Cuba, and became interested in music when he was very young. The first instruments with which he began experimenting were the bongo and the conga, which had a huge importance in the training the artist would follow until he became the professional musician he is today. Here are some of the topics we cover in a long but pleasant conversation via Zoom.

Bandleader Carlos Medrano — Carlos Medrano, bandleader of Sabor De Mi Cuba

Topics covered with Carlos Medrano

When talking about his first experiences with music, Carlos told us he has always been surrounded by musical sounds since his childhood, which was spent in the neighborhoods of El Vedado and Old Havana.

When he lived in El Vedado, his grandfather used to make poetry and do recitations, while he accompanied him with the drum, but he was in more direct contact with the musical world in Old Havana, a place where there were many rumberos and renowned musicians who were always playing in those parts.

A very young Carlos always saw comparsas and street concerts from her home window and people always joined them making sounds with bells, pans or anything they had.

During the decade of the 90’s, Cuba saw a big boom in tourism, resulting in the appearance of numerous traditional Cuban music groups and the cafes and clubs in the area were filled with sextets with professional musicians. They were looking to play in these places to get tips from tourists and have travel and employment opportunities,” said Carlos.

I always looked at the work these artists were doing, especially tres players and bongos players. That’s how I learned to play the bongo: by watching and listening to what others were doing. I tried to imitate the sounds they made with a metal bucket or whatever I had at home to learn”, he continued.

Carlos Medrano on stage — Carlos Medrano performing on stage with his band

Professional training of Carlos Md¡edrano and and limitations found

After junior high school, he met a friend of his father who would be key in his training as an artist and his name is José Antonio Oviedo. Although his father saw no problem in this fascination of Carlos with music, he always told him not to drop out of school and to pursue a university career.

When he began taking lessons with José Antonio, the level of demand was such that he felt he was in a formal school. He taught him to read music in a way that had nothing to envy to an art institute, which Medrano will always be very grateful for.

In addition to that, near his home, there is a sector called ”Cueva De Humo” where there are excellent musicians and rumberos. It was there that Carlos got to meet Juan Ernesto Santana, Ernesto Gatel Coto from Rumberos de Cuba and many more. ”I was lucky that most people liked me and they always explained to me everything I needed to play as it should be” he added.

With all these insights, there came a point when he decided to devote himself to the world of music and put aside other ambitions he had such as studying law, which was a shock to his family at the time.

That is when his mentor José Antonio did the necessary procedure for him to present the Escuela de Superación Profesional de Arte “Felix Varela y Morales” admission exam, which he passed without major setbacks thanks to his training up to that point.

Although his admission to the institution was relatively simple, it was not long before Carlos faced another equally difficult challenge: getting the necessary resources and instruments to receive a good training.

”I didn’t have my own instruments until I started playing professionally with maestro Orlando Sánchez. I had my first bongo thanks to my father’s friends, who helped me to have my own things, but that never limited me” said the percussionist on this topic.

In a time of so many shortages, it was clearly not easy to study, but Carlos was always looking for ways to fulfill his activities, whether it was raising money, borrowing instruments, practicing with other similar implements, sharing school instruments with his classmates, among other things.

Carlos Medrano paying the drums — Carlos Medrano playing the drums on stage

Great inspirations and mentors

One of his biggest inspirations was his cousin Stanley, who was a professional percussionist. He always advised Carlos to never classify himself in one instrument, but to always learn to play a little bit of everything to become a needed man, so that bands would always consider him for their tours and projects.

Another of the great mentors he had has been Ignacio Jarabe, who has taught him many of the best ”tricks” a percussionist may need when playing one of these instruments. ”I still have solo sheet music that he wrote and some of his book manuscripts, which I don’t know if they were ever published, but they are still important reference sources for me”, said Carlos about Jarabe.

We cannot forget to mention percussionist Eliel Lazo, with whom Carlos had amazing chemistry from the beginning. Lazo had contact with the best AfroCuban jazz musicians of the time and came to travel to many places thanks to his training in percussion instruments, which inspired Medrano to follow in his footsteps. After about one year of studying with this great musician, he was able to perform at La Fiesta Del Tambor and went on to be a finalist in several categories.

Once he started plating professionally, the first person to call him was the maestro Orlando Sanchez, who in addition to offering him his first formal opportunity in this field, taught Carlos many other things which he had not learned so far. He has him up on a pedestal and thanks him for everything he has learned.

Another person to whom the artist is very grateful is José Luis Quintana, better known as Changuito, who told him that ”the good conga player has to listen to the orchestra. You have to be able to hear the piano, the bass and the other instruments. You have to look for your space between the rest of the musicians”.

Another important figure who cannot be left out is Yaroldy Abreu, a mmusician who spent hours rehearsing with Carlos at his house. They focused a lot on technical and creative resources during these classes. Medrano considers him one of the best percussionists and musicians in the world due to his extensive knowledge in every field of music.

Carlos recording at home — Carlos Medrano recording music at home

Sabor De Mi Cuba

It all started with a contest called ”Joyas” which specializes in promoting young Cuban talents who present their art to a qualifying jury and seek to carve a name for themselves in the industry.

Carlos was fortunate that one of the judges told him and drummer Pablo Calzado ”you two shall go along with me”. The artist spent some time working with this person, who took him to play in other orchestras so that he could learn from the best until developing his own style.

This happened after he moved to the United States and was still acquiring experience with other musical groups. That is when he realized he wanted to do things in a different way and get involved in other genres and rhythms that he had not tried before.

There came a day when a bass player friend of his told him that if he wanted to come up with his original ideas, he had to embody them himself and not wait for others to do it. Carlos never saw himself creating his own band, but he decided to began composing his own music and he succeeded.

Then, he started writing usic, contacting great arranger friends of his who helped him reassemble the idea of what he wanted to do. Once he had a repertoire, they advised him to record an album and give life to everything he had done, which gave birth to his first album ”Sabor De Mi Cuba”.

The first song he wrote in his life was called ”La Habana” and was basically inspired by everything Carlos lived in his country and the longing he feels for not being able to be in his country, walk its streets, party with his friends, visit its special places, among other things. What he relates there is his life in the city where he was born and his desire to be able to go back there.

His main motivation to make the album was the possibility of doing something different from anything he saw in the music scene around him at the time.

Carlos does not think of himself as a professional composer, far from it, as he feels he still has a lot to learn in that field, but he hopes to reach the level of the artists who inspired him in his youth.