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Do you enjoy Latin music? Would you like to get more involved in this genre and share your passion for Salsa, Bachata, Kizomba, Merengue and more. Why not joint our Global Team of volunteers as a correspondent?
You can ask for more details with no obligation and we’ll be happy to talk to you about the benefits that come with the role [Read more…] about ISM / June 2025
A while ago, we wrote a story about Sizzling Summer Nights, which is a series of outdoor performances by long-established and emerging orchestras at the Autry Museum of the American West, Los Angeles. However, we never had the opportunity to talk to any of those involved in the event, but that has changed in the last few days, as we have had the joy of speaking with professional dancer, dance teacher and choreographer April Connella, who will give us details on her career and professional life.
April started to become interested in everything related to dancing from a young age, but the one who really introduced her in this world is Orlando Delgado, who was a salsa instructor and dancer in Los Angeles. It turns out that in this same city, someone close to Orlando saw April dancing in events by chance and told her to go to Orlando’s studio, meet him and take classes with him to reach her full potential. So she did and the connection between the two was instantaneous and, over time, they became friends and Orlando came to be someone very special in her life.
They became a dance couple, taught classes and did many events together until the untimely passing of Orlando in September 2023 due to a long battle with cancer
April was telling us that it was Orlando they really contacted to participate in Sizzling Summer Nights. One of his students in one of his dance classes, who turned out to be one of the organizers, suggested that both he and April attend these events, since the previous instructors had left, so he was looking for new ones.
Since then about eight years have passed and Sizzling Summer Nights has become one of the biggest salsa and Latin music events of the summer, largely due to the effort made by the talented duo.
The dancer also confessed to us that Orlando’s loss has affected her personally and professionally, to the degree of saying that, together with him, she has lost a part of herself that feels that she will never be able to recover. Many have asked her why she does not get a new dance partner, but she finds it difficult to do that. She recognizes that there are many good dancers who could fill that spot, but finding someone she has the relationship and emotional connection she had with her previous partner is impossible. You do not get that anywhere else.
However, despite this painful loss, April knows she has to move forward in spite of everything and carry out her projects as hard as it is. In fact, one of those challenges is that April herself also happened to be sick with cancer and is in remission.
To this we must add that one of the things keeps her going is the great passion she feels for what she does and she believes that her profession is a part of her soul she cannot let die too. Not to mention that she has felt the support of the entire salsa community that knew Orlando in life and helped her to continue her work.
The dance instructor explained that April’s Feel Da Beat is actually a new version of the previous dance company that was only called Feel Da Beat and was directed by Orlando. After the two meet, they not only become dance partners and best friends, but also business partners.
Then, Orlando was planning to retire at some point due to age, so he wanted his project to be in the hands of someone he could trust and that was April, whom he taught everything he knew so he could delegate what he had built so far to her. When Delgado’s health was already very frail, both he and April discussed the matter of the company and concluded that the best thing to do was to transfer it to her and change its name to April’s Feel Da Beat. After that, it was up to her to handle the project alone and adjust to this new stage without Orlando by her side.
She does not have a big team working for her right now, but she does work with many artists and dancers for the various events in which she performs.
Read also: Los Boleros Latin Band Bandleader Rudy Furlan kindly talked to us
Pioneers of son, a rhythmic blend of African and Cuban music that evolved into salsa, mambo and Latin jazz, the group was the first son band to incorporate the trumpet as the main instrument.
Since Piñero’s death in 1968, after 41 years at the helm of the band, the Septeto Nacional De Ignacio Piñero has been led by a series of leaders.
Guitarist and composer Rafael Ortiz, who took over after Piñero’s death, bequeathed the position to vocalist Carlos Embale in 1982.
Ignacio Piñero was one of the Pioneers of Son Cubano
In 1906 he already knew and had assimilated the different toques of the African cabildos that existed in the neighborhood of Pueblo Nuevo, which he later incorporated into some of his creations.
He began his artistic career with the group claves and guaguancó El Timbre de Oro, later he directed Los Roncos de Pueblo Nuevo, in which he developed as a decimist and director, at the same time he took his first steps as a composer.
From this stage are: Cuando tú, tu desengaño veas, Dónde estabas anoche, El Edén de Los Roncos, Mañana te espero, niña. Later he joined the group Renacimiento de Pueblo Nuevo.
To the folkloric values that Piñeiro cultivated in these groups, he contributed a wider melodic-harmonic development and a greater depth and poetic flight.
In 1926 he was one of the founders, together with María Teresa Vera, of the Sexteto Occidente, with which he made his first tour to the United States in order to record an album with this group.
In 1927 he founded the Sexteto Nacional, formed by Ignacio Piñeiro, director and double bass; Alberto Villalón, guitar; Francisco González Solares, tres; Abelardo Barroso, lead vocals; Juan de la Cruz, tenor; Bienvenido León, baritone and maracas, and José Manuel Carrera Incharte (El Chino), bongo; that same year trumpeter Lázaro Herrera joined the group. With this septet he traveled to New York, where he recorded his first works.
They performed at the Sans-Souci cabaret (1930); in 1931 they performed at the Lavín and CMCG radio stations; in 1932, at the Dos Hermanos Hotel, he premiered Buey viejo; that same year the American composer George Gershwin came to Havana, at the CMCJ radio station he listened to Piñeiro’s son Échale salsita, from which he later used the theme played on the trumpet in his Cuban Overture.
In 1933 he performed at the Fair-Exhibition A Century of Progress, held in Chicago, United States.
In 1934 Piñeiro retired from the septet, which from 1935 was directed by trumpeter Lázaro Herrera. In 1954, Piñeiro reappeared as leader of the septet, with which he appeared on the television program Música de Ayer y de Hoy.
As a composer, Ignacio Piñeiro broke, although he took elements from the form of the oriental son, in which its creators used the quatrain and the tenth; an example of this break is his son Buey viejo, from 1932:
Carretero no maltrates a ese pobre buey tan viejo, que ya doblbla la cabeza por el peso de los tarros, y por senda de guijarros va tirando la carreta, y nunca llega a la meta, término de su dolor.
Piñeiro was one of those synthesis cases that managed to capture, develop and express the full richness of the son.
The structural modifications, the cadence, the rhythm and the use of refined melodies and lyrics, achieved by this creator and interpreted by the Septeto Nacional, make it possible to say that the work of this singular artist, although he did not mark the boundaries of son (which corresponded to the Sexteto Habanero), he did turn it into a son that today we can call classic, which became a model for its further development.
According to Miriam Villa: “If we analyze the organization of the literary text, we observe in his work the formal use of metrically heterogeneous links subjected to rhythm, characterized by the presence of accented and unaccented elements within the system of units that are repeated at intervals between them.
Piñeiro must not have been concerned about the meter in the text as a pattern, since through the rhythm of the composition he achieves the contrast relations, making the change of meter express a change in the thematic movement, either from intermittences or accentuations or sometimes both, which give it different semantic nuances and alternations of tensions and distensions.
And elsewhere Villa states: “Another aspect that in relation to the literary text is reflected in Piñeiro’s creative work is that of the thematic contents; these are shown from a diversification with greater scope in relation to his contemporaries.
His work can be divided into multiple themes among which are love, homeland, philosophical reflection, politics, the bucolic, the infantile, expressed in a variety of forms: satirical, apologetic, humorous and with greater depth than in the sonorous production that preceded him and even with which he shared.
Ignacio Piñeiro Septeto Nacional
El Son de Altura (1998)
Tracks:
By:
Also Read: From Cuba El Septeto Son de Nipe vienen Abriendo Caminos
Commemorating one more anniversary of the departure of the Maestro: Ismael Quintana (Ponce, June 3, 1937-Colorado, April 16, 2016) was a Puerto Rican singer and composer of salsa, bolero and other genres of Caribbean music.
He began his musical career in 1961 alongside Eddie Palmieri and La Perfecta, and later continued as a solo singer.
In 1970, he signed with Fania Records and joined the Fania All Stars, in addition to recording more solo albums.
By 2012, his health condition prevented him from continuing to perform and he stopped giving concerts.
In April 2016, he died of a heart attack at his residence in Colorado in the United States at 78 years of age and paid the first tributes.
Quintana was the singer who gave the name salsa to Afro-Caribbean music, after having heard it in Venezuela.
During these early years, he played percussion with a variety of bands throughout New York City.
He persevered and eventually joined Angel Natel’s orchestra as a teenage bongosero.
During one memorable night in 1959, the band was asked to play a particular number for one of the club’s dancers.
Natel’s singer was not familiar with the song, but Ismael was. He stepped up to the microphone, performed the song and in the process electrified the crowd with his talented voice. That night launched a magnificent career, a career that would eventually position Quintana as one of the most prominent vocalists in Latin music.
Eddie was present when Quintana auditioned for Orlando Marin’s popular orchestra.
The pianist would eventually track him down and offer him the opportunity to become the lead singer of his new orchestra, La Perfecta.
This proved to be a vital move in Eddie’s quest to become one of the top Latin music bandleaders. Their alliance would last 12 years.
The 1965 album Azúcar Pa’Tí is probably the aesthetic pinnacle of their collaboration. It featured classic salsa anthems such as “Oyelo Que Te Conviene”, included here for your listening pleasure.
Another unforgettable moment was Eddie’s decision to record a double LP set in the Sing Sing penitentiary.
Quintana’s voice sounds appropriately impassioned on that socially significant 1972 concert recording.
The second of these two releases gave him the opportunity to sing tangos and ballads, backed by a spectacular orchestra led by South American arrangers Héctor Garrido and Jorge Calandrelli.
Surprisingly, the singer has stated in interviews that he prefers to dance ballads and boleros rather than sing more fast-paced material.
Quintana’s first work for Vaya Records was recorded in 1974, It included the hit “La Blusita Colorá”, which is featured in this collection.
The singer also collaborated with keyboardist and bandleader of La Sonora Ponceña Papo Lucca, as well as Ricardo Marrero.
He appeared in the movie Salsa and participated in many of the combo’s historic performances, delivering a blistering version of the self-written “Mi Debilidad” at Yankee Stadium.
When not traveling the world with the All-Stars, Quintana could be found in the recording studio, working on material that appeared on his albums for Vaya Records.
Ismael Quintana’s name appears on many classic albums from the salsa explosion of the 1970s, both as a background singer and as a percussionist.
His phenomenal vocal abilities have obscured the fact that he is one of the most exciting maracas players in the genre.
He is also an innovative composer, having written many of the songs that make up Eddie Palmieri’s seminal albums of that era.
Quintana is also known as one of the nicest guys in the Latin music business.
A true professional who is never late for his concerts and a devoted family man who doesn’t smoke or drink.
Ponce in Puerto Rico has given birth to several legendary Latin singers, from Héctor Lavoé and Cheo Feliciano to Ednita Nazario and Pete ‘El Conde’ Rodríguez. Ismael Quintana is yet another luminary from that region.
This Latin Heritage compilation is a well-deserved tribute to one of salsa’s best. Fania All Stars.
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Also Read: The Royalty of our Latin Music Pete “El Conde” Rodríguez first singer signed by Fania Records label
She is known mainly for singing jazz standards, ballads, and bossa nova, as well as for developing and promoting Chilean folklore in the United States and the jazz world.
Abandoning the traditional jazz standards she covered in her two works for Verve, Chilean vocalist Claudia Acuña reveals a more contemporary Latin sound, with R&B influences, in her Maxjazz debut.
This is not to say it is jazz-pop, but the delicate melodies are reminiscent of 1970s Airto Moreira and the best Al Jarreau.
Although there are few jazz improvisations (most tracks are less than five minutes long), the music remains complex, cultured and sophisticated, with deep harmonies that should please jazz lovers and Latin music enthusiasts alike. Matt Collar.
Claudia Acuña, born in 1971 in Santiago, Chile, is one of the most representative voices of contemporary Latin American singing.
Her music, which fuses elements of jazz and Chilean folk music, has captured the attention of audiences both nationally and internationally.
Early years and formation
From a very young age, Acuña showed interest in music. She grew up in an environment where Chilean musical traditions were part of everyday life. In her childhood, she began to learn about the guitar and piano, which led her to develop her vocal talent. Claudia Acuña trained in the musical field in various institutions, where she cultivated her love for jazz, a genre that would profoundly influence her throughout her career.
Successes and trajectory
Claudia Acuña’s debut in the music world was well received, which opened the doors to a series of presentations in festivals and concerts in Chile and other Latin American countries.
Her debut album, which includes a fusion of traditional Chilean rhythms and rhythms from other cultures, was acclaimed by critics and audiences alike, propelling her career to new heights.
Throughout her career, Claudia has collaborated with leading musicians and participated in important international festivals. Her ability to perform not only Latin American music, but also jazz standards, has made her versatility recognized by her peers and followers.
The albums she has released throughout her career reflect her love for music and her commitment to creating a unique sound that represents her cultural identity.
Cultural Impact
Her presence on international stages has allowed many people to discover and appreciate the richness of Chilean music.
In addition, she is known for her charisma and energy on stage, which makes her a memorable performer in each of her presentations.
Claudia has inspired generations of young musicians in Chile and abroad, encouraging others to explore their cultural roots and express themselves through music.
Recognitions and awards
Throughout her career, Claudia Acuña has been honored with several awards and recognitions, both nationally and internationally. These awards not only highlight her artistic ability, but also her impact on the music community. Claudia continues to work actively in the industry, collaborating with new artists and participating in musical projects that promote Chilean talent abroad.
Conclusions
Claudia Acuna – Luna (2004)
Temas:
Musicians:
Claudia Acuña (Vocals)
Jason Lindner (Acoustic Piano and Fender Rhodes)
John Benítez (Double Bass and Electric Bass)
Gene Jackson (Drums)
Luisito Quintero (Percussion)
Jimmy Greene (Soprano Sax)
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Also Read: From Chile Nairoby and La Casa del Ritmo with their project “Vinyl Plater Productions”