Search Results for: Willie Colón

Sonora Ponceña and her 1982 álbum “Determination”

A production that placed “Yambeque” on its first song

Enrique Arsenio Lucca Quiñones (Ponce, Puerto Rico, April 10, 1946), known as Papo Lucca, is a pianist and multi-instrumentalist of salsa and Latin jazz.

An arranger and virtuoso of his instrument, he was co-founder with his father, Enrique “Quique” Lucca Caraballo, of La Sonora Ponceña. He has also performed and recorded with the Fania All-Stars, Willie Colón, Celia Cruz, Johnny Pacheco, Bobby Valentin, Ismael Quintana, Gloria Estefan, Adalberto Santiago, Andy Montañez, Pablo Milanés and Rubén Blades.

La Sonora Ponceña is a Puerto Rican orchestra of Afro-Caribbean music founded by “Quique” Lucca in 1954.

Directed by the son of “Quique”, Papo Lucca, it is one of the most important groups of the musical genre

This time we highlight the album “Determination” from 1982, a production that placed “Yambeque” on its first song

Sonora de Ponce, Papo Lucca, Los Gigantes del Sur, Determination — Sonora Ponceña and their 1982 album “Determination”.

A melody from Regla de Ocha to the orishas that brings a rumba within its particular style of salsa and excelling in a solo he “little” Johnny Rivero and the interpretation “Toñito” Ledee.

On the song “Soledad,” it was Yolanda Rivera‘s turn, along with Miguelito Ortiz and Toñito Ledee, where they sing about loneliness and its peculiarities and dangers.

In “Creo en ti,” the arrangement of the ninths and suspended chords on the trumpet harmonies stood out, very well complemented by Yolanda Rivera’s interpretation of this bolero.

The song “Herida cerrada en falso”, lyrics and interpretation provided by Toñito Ledee, where we enjoy the vocal style of this great singer.

The melody that followed on this album was “Date cuenta“: a call to young people who go around playing with hearts.

In “Si la ven”, where the piano solo turned the main line of the melody into a Classical Music Minuet and where we enjoyed the harmonies that were used in the trumpets and flute horn by Juancito Torres.

In “Joldo” Maestro Papo Lucca makes Jazz taking this melody to a more accentuated Latin plane.

In “Aunque te quiero” Songo with Salsa was employed for a sense of harmony and dance-driving, where this melody reflects the heart of the true and full romantic lover, who regrets the love that does not return to him.

In this production we have wanted specially to detail that we counted on Enrique Quique Lucca like Musical Director; to Enrique Papo Lucca like Producer, Arranger, choir and piano; vocalists to Yolanda Rivera, Miguelito Ortiz and Toñito Ledee; in the choir to Edwin Rosas and like guest also in choirs Mr. Adalberto Santiago.

We were fortunate and honored to have lyrics by Adalberto Alvarez, Jose A. Mendez, Toñito Ledee, Francisco Alvarado, Roberto Anglero, Joseito Gonzalez and one with DRA.

This album continued to mark the musical line that we brought and continued to have the privilege of the favor and acceptance of each of our fans, who to this day continue to fully enjoy each of the melodies present in this production.

We say goodbye to you and thank you for your attention, and we will return soon with another release for all of you.

Facebook: Sonora Ponceña

Yambeque

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El Nene de Ponce and El Malo del Bronx

Héctor Lavoe y Willie Colón

A finales de los sesenta, el mundo fue testigo de un interés por la música latina, y esta vez, el sonido se llevó a cabo en Nueva York con condimentos puertorriqueños y dominicanos y un condimento basado en los sabores culturales que se mueven en la Gran Manzana.

Fue una mezcla de sonoridades latinas aromatizadas por las calles de Nueva York, que resultó en una especie de guarnición musical que se llamó Salsa.

Concretamente en el año de 1967, que es cuando este sonido cobra vida de la mano de la combinación más letal concebida por nuestra música latina, Héctor Lavoe y Willie Colón.

El primero es oriundo de Ponce con un registro vocal envidiable que se fue a probar suerte a Estados Unidos con tan solo 17 años. El siguiente era un neoyorquino de ascendencia puertorriqueña con el oído más privilegiado de su generación, unido por Johnny Pacheco para iniciar el imperio de los primeros chicos malos de la música latina con el disco “El Malo”.

Concretamente, fue en el 67 cuando este sonido cobró vida de la mano de la combinación más letal que jamás haya concebido nuestra música latina, Héctor Lavoe y Willie Colón. — El Nene de Ponce y El Malo del Bronx

Esta es la primera producción de Willie Colón que realmente se empieza a grabar en el 66 desde Alegre Records. Sin embargo, el sello cerró y el proyecto se detuvo hasta que recibió la propuesta de Fania Records con la condición de buscar un nuevo vocalista, y es entonces cuando apareció Héctor para terminar el disco.

Cuando se estrenó en el 67, fue un bombazo en todos los sentidos, desde la estética hasta los sonidos sofisticados que Willie capturó como líder de orquesta al traer elementos de mambo-jazz, son montuno, timbales diabólicos por parte de Nicky Marrero, Guaguancó, blues. pianos y Boogaloo.

Todo el mundo hablaba de la trágica vida de Héctor Lavoe, pero Willie Colón vio más allá de eso, e hizo once álbumes de estudio, lo vio como un dulce chico de campo con buen sentido del humor. Lo vio como el mito antes de convertirse en tal.

Willie Colón & Héctor Lavoe, este dúo es considerado uno de los más importantes de la música salsa.

Willie Colón & Héctor Lavoe fue un dúo de salsa formado en Nueva York, Estados Unidos, con orígenes puertorriqueños en 1967 por Willie Colón (trombón, coros) y Héctor Lavoe (voz, maracas). — Héctor Lavoe y Willie Colón “El bueno y el malo”

Criado entre los “chicos malos” del Bronx, Nueva York, Willie Colón se ha hecho a sí mismo a pulso y ritmo, innovando y esforzándose siempre por ofrecer algo diferente. Y no fue fácil. Así que tuvo que inventar otro Willie con el que nadie se enredara.

Así nació “El Malo” con una niñez poco común, también es “El Malo” de Salsa, el que cambia las reglas en cada disco. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años.

Su abuela fue la que le regaló su primera trompeta, le enseñó a hablar español, también tocó música tradicional a cambio de que él le leyera el periódico.

Willie tocaba la trompeta y ese parecía ser su instrumento. Luego escuchó el solo de trombón de Barry Rogers quien tocó la pieza “Dolores la Pachanguera” con Joe Cotto y también descubrió lo que hacía Mon Rivera con el bombo y el trombón y nunca quiso volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No cualquiera celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística.

Así nació “El Malo”, con una niñez poco común, lo que también lo llevó a adoptar el nombre a su pasión por la música, pasando a ser conocido como El Malo de la salsa. Cambia las reglas introduciendo algo diferente con cada álbum. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años en ese momento. Su abuela le regaló su primera trompeta, le enseñó a hablar español y también le tocó música tradicional a cambio de que leyera el periódico.

Willie tocó la trompeta como su instrumento hasta que escuchó el solo de trombón de Barry Rogers a dúo con Joe Cotto en la pieza “Dolores la Pachanguera” desviando su interés por ese instrumento pero descubriendo lo que hacía Mon Rivera con el bombo y el trombón. lo llevó a no volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No todo el mundo celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística lo que lo convierte en un ícono de la salsa.

Héctor Juan Pérez Martínez, conocido como Héctor Lavoe y William Anthony Colón Román, más conocido como Willie Colón. — El Nene de Ponce y El Malo del Bronx “Héctor Lavoe y Willie Colón”

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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” y su Sexteto

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

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DIEGO “EL CIGALA”

The “Cantaor” Of The XXI Century

Flamenco has been his principal victory. Tango his maximum exploration. Salsa his greatest ambition, and Bolero his deepest romanticism. The world has witnessed his talent, Diego Ramón Jiménez Salazar or better known as Diego “El Cigala” has immersed us in these torrential musical genres with his masterful voice for 24 years. Each album shows us intoxicating rhythms that introduce you to joy on many occasions, and many others evoke stories of deep melancholy in their unequivocal lyrics.

Diego, a good, upright, and friendly man has lived very hard moments like the loss of the two most important women in his life. Her wife, Amparo Fernandez, a victim of cancer that took her life in 2015 in her home (Punta Cana, Dominican Republic), and a year after lost her mother, Aurora Salazar Motos.

Diego "El Cigala" with his Wife Amparo — Punta Cana (Dominican Republic) “… It is a place where you can live, not just work. There is more space for life. “Amparo Fernandez

For 26 years, Amparo was his manager, friend, confidant, wife, and mother of his two oldest children (Diego and Rafael). She was always his stick of support even during the worst stage of his career.

Diego El Cigala has always been very familiar, sentimental, and a believer in God. “… My children make me and they will always keep me going, music heals me from the inside, and God accompanies me making everything possible”, explains the nationalized Dominican artist.

A year and a half after these fateful circumstances, the XXI century cantaor resurfaces and rebuilds his life with his current couple Dolores “Quina” and his third son Manuel, who was the product of this relationship.

Quina loves me, I love her, and she understands me like nobody. I have grief and joy every day of my life. I see my children, my wife, my granddaughters and shot forward.”

The Meeting

At the beginning of 2000, there was a meeting. Diego “El Cigala” and Bebo Valdés got together for the first time, and very much in the style of a bridal link, Diego and Bebo created a strong bond of friendship, mutual respect, and professional admiration.

Diego "El Cigala" with Bebo Valdés — His popularity arrived with Bebo Valdes and his album Lágrimas Negras

It was an afternoon at the house of musical director Fernando Trueba where they met and did not stop exchanging opinions about flamenco and Cuban music. From there their first collaboration together, three songs from the CD “Corren tiempos de alegría” released in 2001.

Bebo ever transmitted serenity and tranquility to Diego, which allowed them to record two years later Lágrimas Negras, an album with which they won a Latin Grammy Award for Traditional Tropical Album in 2004.

Both artists lived moments of unique and spiritual teachings. Each day Diego regrets Bebo’s physical departure and misses him so much that every day he looks up and sees Bebo saying to him: What’s wrong?

Bebo helped him get to know the Caribbean where he ended up living, helped him transcend flamenco, and learn about other genres. For that, the only way to pay tribute to him was with the sixth track belonging to the Indestructible record production, Fiesta para Bebo, with the special guest, Los Muñequitos de Matanza.

Since Lágrimas Negras, the cantaor of the XXI century has been able to venture into new genres and collaborations, such as the material Cigala & Tango (2010), Indestructible (2016), and his most recent record production “Cigala canta a México” presented in 2020.

El Cigala Indestructible

Since 2016 Indestructible presented the greatest musical fusion of the American and European continent. It was a Salsa and flamenco production that brought together the founders of the Fania All-Stars after 25 years and recalled emblematic songs such as El ratón, Periódico de ayer, Moreno soy, and Juanito alimaña popularized by Willie Colón and Hector Lavoe, among many others.

Diego "El Cigala" cantando — Indestructible released in 2016 is the tenth studio album of Diego “El Cigala”

Diego El Cigala from the gypsy ethnic group grew up in love with this Latin music since his childhood thanks to his father and the great stars of hard Salsa such as Héctor Lavoe, Celia Cruz, Cheo Feliciano, La Fania All-Stars, and El Gran Combo.

Diego "El Cigala" black and white — Diego “El Cigala” has always been very familiar, sentimental, and a believer in God

This tenth studio album in tribute to his wife Amparo Fernandez, and his great teacher and friend, Bebo Valdés, was recorded in different territories of the American continent, bringing the color and sound of Salsa from each area to this CD. The cities that he visited and captured part of the recording were: Cali (Colombia), San Juan (Puerto Rico), Havana (Cuba), Punta Cana (Dominican Republic), New York (United States), Miami (United States), and Jerez de la Frontera (Spain) where the production ended with the addition of guitar, choirs, cajón, and flamenco clapping.

As part of this fusion of genres, El Cigala had the opportunity to count on the talent of Oscar D’Leon, Bobby Valentin, Larry Harlow, Roberto Roena, Eddie Montalvo, Nicky Marrero, Jorge Santana, Gonzalo Rubalcaba, Luis Perico Ortiz, Horacio el Negro, José Aguirre, Diego del Morao, and the percussion group Los Muñequitos de Matanza with whom he created a very special connection because they have a lot of similarity with the culture of his gypsy people, “I love them, no I’ve seen better people with so much heart “, that’s how El Cigala described them.

Indestructible, nominated for the Latin Grammy for Best Tropical Album in 2018, represents the immortality of Salsa, the essence of the Afro-Caribbean rhythm that endures in the Latin roots of the new generations although it no longer has the same boom that is enjoyed between the period from 1970 to 2000.

Salsa was in the 70s a way to confront racism and xenophobia that Latin Americans were experiencing in the United States. That unites Salsa with gypsy music and the gypsy people, who have also experienced these prejudices”. Diego “El Cigala”

Twenty-Seventh Edition Of Tempo Latino Will Be Unmissable

CANCELLED

The festival in its 27th edition will present international stars of great trajectory and emerging from July 29 to August 1

Tempo Latino, the leader Salsa Festival in France, resumes its activities after its forced pause due to the Pandemic. The whole family will be able to enjoy this summer in the open air, on its main stage “Les Arènes” of the presentations of established and emerging artists of Latin music in Vic-Fezensac (Gers, France) during the last weekend of July. Tickets for all performances are already available in advance since last January on their website.

At Les Arènes (main stage), Tempo Latino will present the concerts: Pacific Mambo Orchestra (Friday, July 30 – 9:00 P.M.), Los Van Van (Friday, July 30 – 11:00 P.M.), Interactivo (Saturday, July 31 – 9:00 P.M.), London Afrobeat Collective (Saturday, July 31 – 11:00 P.M.), Alain Pérez (Sunday, August 1 – 9:00 P.M.), and Issac Delgado (Sunday, August 1 – 11:00 P.M.), to close all their nights.

Every day of the festival, before the nightly live performances, in between each concert or before leaving Les Arènes, Tempo Latino offers a Caribbean atmosphere where you can taste exquisite dishes and enjoy a guest DJ each day in La Conga. Also, you can do the same at Bar Habana, in front of the bullring “El Pueblito”. Here, from 12:30 P.M. to 1:30 P.M., you can improve your Salsa steps with Atocha Showman with a free dance lesson.

To quench your thirst, you can head to La Placita, located at the back of Les Arènes. In this corner from 6:00 P.M., you will be able to savor varied and national wines, or if you prefer to continue discovering Latin specialties and crafts, you will find them in the dozens of stands in El Barrio. The El Barrio area is located in the center of the international market.

Post Tempo Latino — Tempo Latino will take place under favorable sanitary conditions for all attendees.

First Salsa Festival in Europe!

The Festival Tempo Latino maintains since 1994 its artistic focus on Latin and Afro-Cuban Music. The desire of this festival was and continues to be to make this live and popular music known. Its 500 volunteers invite event attendees each year to discover Latin rhythms for four consecutive days.

Since the beginning of Tempo Latino in the town of Vic-Fezensac, Les Arènes and its georithmic satellites of Conga and Cap Tempo have been the places designed to receive the maximum Salseros, who discover and enjoy the rhythms, artists, and Caribbean flavors of the moment.

Tempo Latino, being the Salsa ambassador in Europe, has presented for 27 years more than 200 renowned and emerging artists and orchestras, among which are: Papo Luca, Sonora Ponceña, Oscar D’Léon, Yuri Buenaventura, Los Van Van, Ernesto “Tito” Puentes, Afro Cuban All-Stars, Celia Cruz, Eddie Palmieri Orchestra & Alfredo De La Fé, Jimmy Bosch, Willie Colon, La Sonora Ponceña, Orishas, El Gran Combo de Puerto Rico, Omar Sosa, Omara Portuondo, José Alberto “El Canario”, Spanish Harlem Orchestra, Johny Pacheco and his Tumbao Anejo, among many others.

Know the Ticket Reservation Methods

The three-day ticket for access to all Les Arènes concerts, which will take place from Friday to Sunday, is available for € 85 on its online platform.

This pass can be exchanged for a bracelet, valid for one person, and can be collected starting Friday at noon, at the counters dedicated to ticket controls located on both sides of the doors of the main stage.

You can also purchase your tickets at:

Pass 3 jours — Tempo Latino offers a special pass for the three-day festival of concerts

At the Tempo Latino Office: 3, rue du Général Delort, 32190 Vic-Fezensac

Authorized payments: Check (payable to Tempo Latino), Vacation Voucher, Cash, and Credit Card

During the Festival: The Tempo box office moves to Les Arènes. 18-20, Avenue Edmond Berges, 32190 Vic-Fezensac. Telephone: 05 62 06 40 40 / 05.62.06.66.56

Authorized Payments: Check (payable to Tempo Latino), Vacation Vouchers, Cash, and Credit Card

At the Artagnan Tourist Office in Vic-Fezensac: 18, rue des Cordeliers, 32190 Vic-Fezensac.

Authorized payments: Check and Cash

How do you Get to the Festival?

By Train: Vic-Fezensac does not benefit from a station. Toulouse, Agen, and Auch are stations suggested for arrival. Tempo ferries will meet you there and escort you directly to the festival venue.

Unmissable Will Be Tempo Latino 2021!

Pacific Mambo Orchestra, Los Van Van, Interactivo, London Afrobeat Collective, Alain Pérez, and Issac Delgado will display their talent on stage

In this Twenty-Seventh Edition of Tempo Latino (a festival held outdoors), all the biosecurity measures implemented in the country will be respected.

First Salsa Festival in Europe!

Los Van Van will close on the first night of the festival. They will celebrate its 50 years of trajectory in Tempo Latino 2021.

Los Van Van was founded in 1969 by the bassist, composer, and legend of Cuban music, Juan Formell.

Juan, accompanied by José Luis Quintana, known as “Changuito” and César “Pupy” Pedroso, invented the “Songo”, a Cuban rhythm predecessor of the “Timba” or Cuban Salsa.