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Katherinne Motta better known as DJ Katha Motta, salsa vinyl collector.

With her good musical taste, her great energy, exuberant beauty and sympathy, she has been infecting the hearts of salseros in Latin America, North America, Europe and Asia with her good taste in music.

On this occasion, the pages of International Salsa Magazine / www.SalsaGoogle.com are graced by our very special guest, the beautiful Katherinne Motta better known as DJ Katha Motta, collector of salsa vinyls, who has been infecting us with her good musical taste, her great energy, exuberant beauty and sympathy to the salsa hearts in Latin America, North America, Europe and Asia.

Born on December 1st in Bogota – Colombia and based in Miami, Florida in the United States, she has been doing an admirable job with her professionalism, talent, original style, versatility, sympathy, connection with the music lovers, dancers and followers; being some of the reasons to be with you today in the only salsa magazine in the world.

Welcome DJ Katha Motta to our edition of the month, for us, it is a satisfaction to talk with you…

Thank you very much Carlos, for your invitation and taking me into account for this interview so I can share and publicize my work as a DJ through International Salsa Magazine and wwwsalsagoogle.com, with all those beautiful and rumbera people, who are your faithful followers and readers around the world.

has been infecting salsa hearts in Latin America, North America, Europe and Asia with her good musical taste, great energy, exuberant beauty and sympathy.
Katherinne Motta better known as DJ Katha Motta

Very well Katha, tell us how were your beginnings in this professional DJ career?

Friend Carlos Colmenárez, well let me tell you that I started on August 26, 2017, in the city of Asheville North Carolina as a professional DJ and I have been participating since then in 5 states of the country, also in Peru in events and concerts of music lovers and collectors, but lately I have been developing my work in Atlanta GA, city that has given me affection to this day.

Excellent, by the way Katha, before continuing with the musical part; tell us if you have any hobbies or do you dedicate yourself to other things?

Yes, Carlos I am passionate about martial arts, photography, the natural environment, sharing with family, obviously dancing and somehow I have learned to value art and life…!

I fell in love with salsa after being locked in the genres of rock, ballads and some heavy metal.
At the age of 18, I only frequented salsa places because it brought me joy.

Your taste for salsa begins since when Katha?

My love for salsa began at the age of 16 when I started to enjoy family parties and I realized that the salsa genre called my attention more than the others. At the age of 18 I only frequented salsa places because it generated joy, feeling and flavor.

Does that give us to understand that you fell in love with salsa?

Yes, yes my friend Carlos, I fell in love with salsa after being locked in the genres of rock, ballads and some heavy metal, although, I still carry these genres in my heart I stayed with salsa because it is a genre that you can enjoy with a glass of wine, dancing, it is too versatile which for me makes the perfect combination. I think I am a proof that it is possible to be a passionate salsa dancer at an adult age.

And weren’t you influenced by your parents or friends to have that taste for salsa?

I remember that since I was a little girl I have been very curious about music, I remember that since I was a child I would take the tape recorder and the cassettes that my parents had recorded from the radio and I would write the names and artists in a notebook.

Very good DJ Katha and as for your taste for vinyls what can you tell us?

Prof. Carlos, when I started working, I started buying CDS and some vinyls, I demanded much more in my work as a DJ because I always want to give the best of me, I also enjoy learning and finding exquisite tunes from collections that are not very well known. Currently I keep buying vinyl for the love of music, the thirst to learn, enjoy the contact of the needle and the vinyl is magical and it is also satisfying to support new artists.  I think it is important to have the habit of giving that value to what we are so passionate about and contribute to the genre.

Which of the rhythms or styles of salsa are your favorites?

It is difficult to find favorites in this genre, when you fall in love with many artists who left their mark and continue to do so, but I think my personal taste is more for son montuno, guajiras and when I program for the dance floor I really like guaguancó, timba and salsa dura.

I have had the honor of alternating with: Chamaco Rivera, Bobby Valentín, Roberto Lugo, Roberto Blades, Papo Cocote, Andrecito Carabali
Katherinne Motta better known as DJ Katha Motta

DJ Katha Motta, we want to know in which places have you been working lately?

Well, let me tell you Carlos that I have been working and making all the dancers in the following cities enjoy:

Asheville NC, Charlotte NC, Greensboro NC Atlanta GA, Athen GA, Greenville SC, Pompano Beach FL, Margaret Fl, Los Angeles CA, Dallas TX, Knoxville TN and many, many more, and as for places where I have participated in vinyl collectors meetings, Orlando FL and Lima Peru.

By the way DJ Katha Motta, with which figures of our Afro-Caribbean music, have you shared the stage?

Carlos, I have had the honor of playing with: Chamaco Rivera, Bobby Valentin, Roberto Lugo, Roberto Blades among others, dear friend.

Perfect, Katha, can you tell us, what have been your latest and upcoming DJ sets for events?

Let me tell you Carlos, that on May 8th I was at the ”Mother’s Day weekend edition” (Noche caliente Latin Night) in Dunwoody, GA; last April 10th at the (Salsa al parque Miami number 3) in Hialeah Fl, May 29th at the ”Rumba salsera” event in Pembroke Pines Fl, among others…and I will be ”Celebrating fathers day” on Saturday June 26th in Greenville SC, alternating with Roberto Blades.

Your social networks Katha, so that music lovers and dancers can follow you?

You can find me as :FanPage Facebook: DjKathaMotta.Facebook Personal: KathaMotta.

Instagram:DjKathaMotta.Youtube:DjKathaMotta.https://Youtube.com/channel/UCSmpDKa1HyMcC4KsBVUpMtA. Twitter: Dj KathaMotta @djKathaMotta.

Thank you very much Dj Katha Motta for accepting our invitation to international salsa Magazine, www.Salsagoogle.com, for us it has been a great honor to have you as a guest and we hope you continue with such professionalism and dedication to the salsa genre and enjoy your “temotas” as you rightly present them in your work and transmissions. We send you a big kiss and a virtual hug with many blessings.

Thank you very much, my friend Carlos Colmenárez, you are a sun…! Let me tell you that the honor is mine and you have selected me to be with you in the “only salsa magazine in the world…!” I would also like to thank all your editors and directors for this high privilege. I will always be at your disposal to share experiences, good salsa and sincere friendship. With love and appreciation your friend Dj Katha Motta…!

By: Carlos Colmenárez Correspondent in Venezuela

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Legendary and Unavoidable Cheo Navarro Bravo Rumbero and his Orchestra de Moda

The first name of the great “Cheo” is José Natalio Navarro Barreto

José “Cheo” Navarro was born in San Agustín parish, Caracas, Venezuela on April 19, 1952. While still a child, his family moved to La Cañada de Jesús and later the 23 de Enero parish, the family Navarro Barreto settled in block 6 of the Monte Piedad sector where he spent his adolescence. The first name of the great “Cheo” is José Natalio Navarro Barreto.

The name and the musical activity of “Cheo Navarro” is substantial and unavoidable for salsa made in Caracas. This percussionist and bandleader has always been at the heart of Caribbean music in such a manner that we will always find a reference to him in various salsa phenomena of the country.

The name and musical activity of "Cheo Navarro" substantial and inevitable for salsa made in Caracas.
Cheo Navarro Legendary and Inevitable Bravo Rumbero and his Fashionable Orchestra

It was from the year 1971 when he got involved with the orchestra of Tito Rodriguez in such a way that he never wanted to do anything else but play like those folks (since he did it by beating every book, container and pot lid he could find at home with pencils and sticks), eventually joining other fans of music to found the group Mango (he was 21 years old at the time). He won the respect of those in the know by performing with that group, where he contended with the best in Caribbean music at that time.

In addition to founding orchestras that are already part of our musical and sentimental history (Mango, Sensación, Bailatino and now Cheo Navarro and his Orquesta Tributo), he played and composed for other leading orchestras such as the Sexteto Juventud, Federico y su Combo Latino, El Trabuco Venezolano, La Crítica de Oscar de León, the Orquesta Renovación, Coco y su Sabor Matancero, and Naty y su Orquesta; He has also collaborated with the orchestras of Orlando Castillo “Orlando Watussi””, Alfredo Naranjo Carvajal and his Guafeo, and “Pavo” Frank. As for the international soneo, he has played with Jhonny Pacheco,  Ismael Miranda Carrero, Andy Montañez, Cheo Feliciano, Héctor Lavoe, Daniel Santos, Pete “Conde” Rodríguez and a plethora that is no longer necessary and, maybe, impossible to list in full.

“Bravo Rumbero“

Is probably his most important composition and the song the salseros of lineage and also those who were not necessarily salseros remember the most, but they had their sense of hearing working just fine, during the 70s and 80s.

The music industry has not been as generous as it should have been with this gentleman. Precisely with him, who has made an effort to pay homage to the gods of his musical devotion.
Cheo Navarro in Block 6 of January 23 appreciates it with reverent generosity.

He is much loved in Block 6 of the 23 de Enero parish they appreciate him with the same reverent generosity

with which the poor towns pay tribute to their genuine icons: He is the illustrious neighbor who has made and makes them dance and, in time, he is the simple man of the people whose stature is found in the work and not in vanity.

The music industry has not been as generous as it should have been with this gentleman. With him, who has been making great efforts to pay homage to the gods of his musical devotion. The sonorities of his orchestral works are a lasting tribute to the giants of flavor.

He is the illustrious neighbor who has put them and puts them to dance and in passing, is the simple man of the people whose stature is in the work and not in vanity
Cheo Navarro Bravo Rumbero and his Orquesta de Moda

The fame that, using payola and other resources, has managed to raise up other names in this business and in history. But being face to face, musician to musician, with anyone, Cheo Navarro qualifies to be one of those fundamental icons who are worthy of being pleasantly remembered, rooted in his people and in urban culture.

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The Macropana Hector Castillo with its Latin and Caribbean Essence are

El Macropana contributed considerably to the development of radio in Venezuela from the 70’s until his death with his particular and original self-taught style of communication to the public.

 

Héctor Castillo, one of the main diffusers of Afro-Caribbean music in Venezuela, died on June 5, 2012.

He was especially remembered for the conduction of the radio program “Caribe Son”, he also worked as a producer of musical shows and TV programs specialized in salsa, becoming a pioneer in this type of TV programs.

He was in Radio Nacional de Venezuela in the production of diverse musical programs in several frequencies, as well as in many other radio stations that allowed him to become one of the most important and great connoisseurs of the Salsa broadcasting in our country together with Lil Rodríguez, Henrique Bolívar Navas, and Phidias Danilo Escalona, among others.

More than 30 years ago, when the salsa genre was at its peak, a kind of “boom” emerged in Venezuelan radio that led some radio broadcasters to take the risk of transmitting the genre that Phidias Danilo Escalona had baptized “salsa”.

Héctor Castillo, one of the main promoters of Afro-Caribbean music in Venezuela, passed away on June 5, 2012.
Héctor Castillo with his Latin Essence and Caribbean Son

Thus, a radio station located in La Florida, Radio Aeropuerto, took the first step. Spaces like Bachata, directed by César Miguel Rondón were born and the programming went from soft music to hard salsa, with the appearance of Rafael Rivas “El Tigre” and Luis Calzadilla “El Villano”.

The above mentioned combination had a very particular way of addressing the audience. Calzadilla emigrated and a young bisoño was hired who had another conception in the way of dialoguing with the public. A passionate of the rumba, but respectful of the public to which he was addressing. Over the years, he became an obligatory reference when talking about salsa on the radio, his name: Hector Castillo.

Hector Castillo, “El macropana”, died on June 5, 2012 at 10:00 pm. The salseros of the mata dawned with the sad news of his death, already expected because his illness was known. Hector himself said goodbye to his friends a month before with this message sent from his cell phone:

“Greetings little brothers, tomorrow I will have my third operation and I am very delicate, I love you”.

Remembered especially for hosting the radio program "Caribe Son", he also worked as a producer of musical shows and TV programs specialized in salsa, becoming a pioneer of this type of television programs.
Héctor Castillo, one of the main promoters of Afro-Caribbean music in Venezuela.

In addition to being a researcher and scriptwriter, after Radio Aeropuerto, Castillo maintained the program Esencia Latina on VTV. Héctor was a producer on Tves and also had his own space as an independent national producer. His program Caribe Son, was broadcast, among other stations, by RNV.

Radio in Venezuela

Radio broadcasting in Venezuela began in 1926, during the government of General Juan Vicente Gómez, thanks to the technical knowledge of Luis Roberto Scholtz and Alfredo Moller, and the political influence of Colonel Arturo Santana, aide to General José Vicente Gómez, son of the President of the Republic.

Under the name of AYRE, they obtained official permission on September 25, 1925, which not only granted them exclusive rights to the transmissions, but also to sell the receivers. In May 1926 the transmissions began with a Western Electric of 1 kw and an antenna supported by towers of 65 m in height. Luis Roberto Sholtz was the managing director of the radio station and Alfredo Moller was the official announcer.

The plant was installed on the land now occupied by the New Circus and the passenger terminal, and the studios in a house on the corner of El Tejar. They transmitted news from the newspapers and variety shows, within an area of 3,200 km. When the political events of 1928 took place, the AYRE radio station was officially closed.

Two years later, on December 9, 1930, Broadcasting Caracas was inaugurated, founded by William H. Phelps, owner of the American store, a business specialized in the import and sale of electric devices. Edgar J. Anzola and Ricardo Espina were Phelps’ immediate collaborators. And in the technical management of the station, Alberto López. Within the International Broadcasting Agreement, Venezuela had been given the YV code. That is why in the acronym of the new plant the identification YVIBC appears in long wave and YV2BC in short wave.

The BC corresponds to the nominal syntagma Broadcasting Caracas, which from 1935, after the death of General Gómez, will simply become Radio Caracas. The initial equipment of 1BC was RCA brand with a power of only 100 watts. The radiating antenna worked on 2 old windmills. This was the first time it went on the air, on the occasion of the remote transmission from Henry Clay Square, about the inauguration of a statue of the famous American politician.

That same year of 1930, on December 17, from the Campo de Carabobo, Broadcasting Caracas also broadcasts the inauguration of an allegorical monument of the Battle of Carabobo, to commemorate the first centenary of the death of the Liberator Simon Bolivar.

A whole elite of figures from the world of communication, music and the Venezuelan intelligentsia is beginning to form around Radio Caracas.

And its programming goes from the news to the official speech, from popular music to cultured music and from the funny sketch to the radio melodrama. “El Diario Hablado”, founded by Mario García Arocha, was for many years an informative tribune of national and international events. And the presence of musicians like Carlos Bonet and Eduardo Serrano, as conductors, anticipated the participation of artists like Fedora Aleman, Angel Sauce, Pedro Antonio Rios Reyna and Antonio Estevez. After the creation of 1BC (Radio Caracas), the voices of Radiodifusora deVenezuela (29.5.1932), La Voz de Carabobo (6.7.1934), La Voz del Táchira (4.7.1935), Emisoras Unidas (16.2.1935), Ondas Populares (10.2. 1935), Ecos del Zulia (1.4.1936), Ondas del Lago (12.10.1936), Radio Popular (15.10.1936), La Voz de la Esfera (27.4.1937), Ecos del Orinoco (6.6.1938), Emisora Vargas (6.8.1938), Radio Puerto Cabello (20.9.1938) and La Voz de la Fe (15.9.1940).

The boom of radio broadcasting, after the death of General Gómez and during the governments of Eleazar López Contreras and Isaías Medina Angarita, gave rise to legislation on the use of radio electric media. This is how the Law of Telecommunications appeared, approved by the National Congress on July 12, 1940, repealing the previous law of July 27, 1936; and the Regulations of Radio Communication, promulgated on February 7, 1941.

With these legal instruments, the State governs radio communication, with a more modern sense of equity and justice. As a means of communication, radio has had a singular importance in the country’s political history.

More than 30 years ago, when the salsa genre was in full swing, a kind of "boom" appeared on Venezuelan radio that led some radio stations and broadcasters to take the risk of transmitting the genre that Phidias Danilo Escalona had baptized as "salsa".
Phidias Danilo Escalona, Rafael Rivas “El Tigre”, “El Macropana” Héctor Castillo

 

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Gerson Aranda “La Tabla de Caracas”.

Restarting again our usual reviews, this time we return with a special guest, the virtuous and spectacular Venezuelan percussionist Gerson Aranda, who kindly gave us this interview from the city of Buenos Aires, Argentina, where he is currently based.

 

Gerson Aranda Rodil was born on March 8, 1973, in the Concepción Palacios maternity hospital in the parish of San Juan, Caracas.

He is the son of Pedro Aranda and Ana Teresa Rodil. Gerson, welcome to the salsa column that is currently at the forefront of Afro-Caribbean music worldwide and in which our Venezuelan musicians make themselves known, project themselves and share their artistic life with our regular readers.

To begin with, we want to know how did you get started in music and who were your mentors? -Thank you Professor Carlos Colmenárez for this opportunity that you give me to share with my dear brothers from my country and other countries around the world. Well, I have been a musician since I can remember, thanks to my parents, brothers, cousins and uncles.

Since I was very young, my father Pedro Aranda, was the founder of the Sonero Clasico del Caribe, who recorded the first two productions of this famous group, which celebrated my birthday, since my father always brought them to my house.

I was raised in the parish of Catia, in Cútira and well, the whole neighborhood would come into my home to listen to the famous Sonero Clásico, and they would listen to the songs: Carmelina, Papá Montero, El enterrador and many more.

Well, since I was a child I had an interest in music, because at home they used to play those rumbas and I had the desire to play the congas and bongo.

Gerson Aranda Rodil was born on March 8, 1973, at the Concepción Palacios maternity hospital in the parish of San Juan, Caracas.
Gerson Aranda “La Tabla de Caracas”

But there was a tres player, a great friend of the family, who met a lot with my father, who was also a tres player, bassist and guitarist; then he saw my interest in percussion and took me to the Sarría school of the maestro Orlando Poleo, who saw me playing despite my young age, he told the tres player René Zambrano, let him always come, because he has interest and conditions and that’s when things started.

At that time those greats like Gerardo Rosales, José Martínez Viruta, Willian Troconis, Wladimir Rivero, Miguelito Urbina were studying and well in that concern I began to study theory and solfeggio with Professor Carlos Ramírez, in the “Tucosan” school and then I studied percussion with Professor Jesús Blanco, known as “El Totoño”. From there my musical career practically began and at the age of 13 I started playing professionally with “El Trabuco Venezolano”, Swing y Color, Magia Caribeña, Hildemaro, Trina Medina, Grupo Repicao, Los Incorregibles, Pasión Juvenil, Grupo Mango and many more orchestras.

Gerson, I understand that you accompanied Soledad Bravo musically and performed advertising jingles? Indeed Professor Carlos, I had the joy of playing with her and toured the world and let me tell you that at that time I did advertising jingles for products on television and radio.

-Gerson, you are known as “La Tabla”, referring also to your hard hands to play the tumbadoras with very accurate hits.

I was raised in the parish of Catia, in Cútira, and well, the whole neighborhood would come into my home to listen to the famous Sonero Clásico, and they would listen to the songs: Carmelina, Papá Montero, El enterrador and many others.
Gerson, you are known as “La Tabla”, referring also to your hard hands to execute the tumbadoras with very accurate blows.

Now then, tell us, which international artists have you accompanied? Well my friend Carlos, I had the honor of accompanying Celia Cruz, Cheo Feliciano, Luigi Texidor, Junior González, Larry Harlow, Marvin Santiago, Willie Colón; among many; thanks to the fact that Naty and his Orchestra and Magia Caribeña, were the base orchestras for those artists.

I also played with Silva and Guerra, of Mauricio and Manuel. Hey Carlos, I also accompanied Justo Betancourt, Adalberto Santiago, Ismael Miranda, Andy Montañez, Jhonny Pacheco y Casanova, Pete Conde Rodríguez and others.

Gerson, what are your current projects in Argentina? -Carlitos, in Argentina I am well thank God, because I have a big band called “La Salsa Brava”, I play a lot and now with the problems with the COVID-19, everything is paralyzed, but I have been very active for three years in all the “boliches”, name given to the night clubs and I have accompanied Los Adolescentes, Rey Ruiz, Charlie Sepúlveda, Jimmy El León, Charlie Aponte, among many others.

My band is made up of Venezuelan, Argentinean, Colombian and Cuban musicians. I have earned respect and they call me “maestro”; I am also giving classes to advanced percussionists, with techniques of different genres and rhythms, unknown to them, since here what is known is the Cuban timba and salsa brava.

Excellent Gerson, apart from the full band, do you have other smaller formats? Yes, I have a sextet called “La Crisis”, because when there is not much money, we make it available and play music by Joe Cuba, Conjunto Libre and others. With “Salsa Brava” I am about to record my production, which I suspended due to my accident before coming to Buenos Aires and the other thing is that my comadre Indira Velasquez came over there and I made a Sonora Matancera format, which is called “Sonora Consoltura” and we have made several presentations and people are very happy with that genre, since they are getting to know what a pachanga, a danzón, among others, is.

Apart from that, I am also doing advertising jingles again. What can you tell us about the Tributo Orchestra and El Guajeo? -The thing about Tributo and Cheo, is that since I was very young I had the fortune that before Tributo and Bailatino existed, we formed the group “Repicao”, which was a school band formed by: Édgar Dolor Quijada, Tuky Torres, José Soto Mortadelo, Prisco Oropeza, Manuel Barrios, Cheo Navarro, Catú Rodríguez and myself, which we played emblematic themes and from here begins the affinity with Cheo and from there, then he arms Tributo and tells me to conform his staff, which was integrated by: Alberto Crespo, José Soto Mortadelo, Jhonny Rivero, Javier Vivas, Johán Muñoz, Eliel Rivero, Osquita, Marcial Istúriz, Édgar Dolor Quijada, Gonzalo Díaz, Rónald Gómez and my substitute is Miguel Urbina and we recorded several albums. They are my friends and we are still in contact, and with “El Guajeo”, the experience was wonderful with the great Alfredo Naranjo. Professor Carlos, I tell you in all honesty that the musical level in Venezuela is very superior and out of this world, with all due respect.

a tres player, a great friend of the family, who used to meet a lot with my father, who was also a tres player, bass player and guitarist.
Gerson Aranda “La Tabla de Caracas”

-Gerson, who are the members of your band of musicians in Argentina? Professor Carlos, it is made up of A Barquisimetana named Lauremys Vanesa on trombone, Catalina Keiti (trombone), Luis Sulbarán (trumpet), Bruno Espinola (trumpet), Ángel Vargas (piano), Bernardo Vásquez (bass), Esteban Leandro “El Puca” (singer), Felipe Figueroa (singer), Deiby Bandre (bongo), Martín Barrera (congas) and me on timbales; It’s my orchestra called “La Salsa Brava”, here in Buenos Aires.

Your social networks? My social networks are: [email protected]. Instagram: Orquesta La Salsa Brava. Facebook: Gelson Aranda Musician. Cell: +54 911 36244963.

Well friend Gerson, for me it was a pleasure to have had you as the protagonist of this installment of Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsagoogle.com and at the same time we wish you the greatest success and continue to represent us worthily outside our borders, giving “tabla” to percussion. Thank you professor and friend Carlos Colmenárez for this opportunity that you give to all the artists of Afro-Caribbean music to project us worldwide in your prestigious salsa column and may God bless and protect you greatly and you know that you count on your brother Gerson Aranda.

Gerson Aranda “La Tabla de Caracas”
Gerson Aranda “La Tabla de Caracas” y su Sexteto

By: Professor MSc. Carlos Colmenárez  Correspondent in Venezuela for International Salsa Magazine

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“Cuando se acaba el amor”, Stefany Castillo’s new theme song

“CUANDO SE ACABA EL AMOR”

 

Stefany Castillo – La Sonerita del Callao

Peru, one of the South American countries known for its variety and impressive ecosystems, overflowing landscapes, beautiful cities full of history, culture, traditions, beaches, fauna, flora… and, of course, its delicious and famous gastronomy.

This time we have Stefany Castillo, a Peruvian singer who was born and educated in the Barrio Estibadores del Callao, near Callao, a port city located in the constitutional province of Callao, in the center-west of Peru, is known for being the port of Callao, the largest and first maritime port in Peru, through which 90% of the import and export cargo of the Andean country moves.

The Buenos Aires musical influence would push her into the musical world and six years ago, trying her luck in some local groups and daring to sing on stage; Three years later, he developed his project, first in digital format which he called “La Sonerita del Callao” and then with the company surrounded by eleven musicians he formed an orchestra, known as “La Sonerita del Callao 4 Orquesta”.

Album of " La Sonerita del Callao "
Cuando se acaba el amor – Stefany Castillo

Currently Stefany Castillo has surrounded himself with a team of professionals and connoisseurs of the Afro-Caribbean, Antillean and Latin sound, and he has periodically been publishing successful singles that have allowed him to become a recognized name and place on local and international circuits. “Mal Hombre”, “You Desire” and “La Sonerita Llegó” are his musical letters of introduction to the salsa flock that have arrived thanks to the opportunity that radios and platforms around the world have given him.

Regarding the new cut in promotion of the title “When Love Ends”, he makes it known that it is from the signature of Eddie Villanueva, a chalaco (Callao, Peru) resident in Switzerland, Road Manager of the Mercadonegro Orchestra, representative of La Sonerita Del Callao and pleasant revelation in the composition. The arrangement of the song has been entrusted to the renowned Venezuelan trumpet musician, arranger and producer Oscar “Chucky” Codero who lives in Holland; And, to round off the task, the musicians listed below have been summoned to become the special musical framework for the characteristic and heartfelt performance of Stefany Castillo, La Sonerita Del Callao:

Author: Eddie Villanueva Chininín
Arrangement: Óscar “Chucky” Cordero
Lead Vocal: Stefany Castillo, La Sonerita Del Callao
Timbal, Bongo, Tumbadoras, Maracas, Giiro: Rodrigo Rodríguez
Bass: Dimitris Christopoulos
Trombones: Johan Alexis Escalante H.
Backing vocals: Robert “El Chamo” Marcano $ Rodrigo Rodríguez
Trumpets: Óscar “Chucky” Cordero
Piano: Óscar Iván Lozano (OILO)
Vocal Coach: Óscar Huaranga (Bambú Records, Lima – Peru)
Sound and Mix Engineer: José Mendoza
Mastering: 440 Studios By Fernando Álvarez (Madrid – Spain)
Recorded at: Go Studio (Zurich – Switzerland)
Musical Producer: Rodrigo Rodríguez Puerta
Executive Producer: Eddie Villanueva Chininín
APR: Eddie Villanueva and Rodrigo Rodriguez
General Coordination: Serafín Castillo
General Production: Eddie Villanueva

SWING LATINO PRODUCTIONS

If you want more contact information, access the following links below:

 

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