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Search Results for: charanga

ISM interviews Héctor Cuevas and his Son Borojol Orchestra.

Dominican Republic where the traditional music is merengue expands to diverse musical rhythms such as bachata, rap, salsa, among others, and this time we had the opportunity to present 2 great musicians (both cousins) called Héctor and Cuso Cuevas , who have joined their talents and experiences in music to found the Orchestra who baptized it “Son Borojol” in March 2015, which is characterized by being a different and very tropical band, its name derives from a tribute to that popular sector because there the genre of son has always been danced.

Héctor Cuevas, was born in the Dominican Republic and lived a season in the USA, from the age of 13 and 14 he began his musical life with Johnny Ventura learning and working in the USA with respect to music, he was also in Caracas, Venezuela, Miami where He was musician for Hansel and Raul in the 80s.

 

In the “Son Borojol” Orchestra he is integrating a musical group that has several members from other countries apart from Dominicans and he mentions that the vast majority are Venezuelans, among them Cesar Augusto Anuel better known as Albondiga, a great trombonist, arranger, composer and musical director of the Latin dimension. He said he was very happy with the coupling of the members of the orchestra, who at each party give their best, showing their talents to please the dancing public.

Son Borojol Orchestra
Son Borojol Orchestra live

The orchestra is composed of experienced musicians who have the peculiarity of having 3 violins (which are from the symphony), trumpeters and other instruments which manage to make a difference in quality and sound, when playing either Cumbia, Merengue, Son , Guaracha, Charanga, Traditional Salsa (La sonora matacera style, jhonny pacheco, Roberto faz)

He comments that once they had a contract with a Latin music label, where Hector wanted it to be pure salsa but they wanted a compilation of different Latin rhythms (merengue, salsa among others) but the most important thing is that the music was from Son Borojol and not from other artists, for a time they were counting on the support of maestro Sony Ovalle (who passed away on December 13, 2020).

The experience that Son Borojol has, in addition to its members, is added the great career he has had in various orchestras with his cousin and renowned bassist Cuso Cuevas (he also died in 2020), who worked with Félix del Rosario, Joseito Mateo, Jhonny Ventura, Santa Cecilia among others. For his part, Héctor Cuevas, played with the orchestras of Hansel and Raul, Jhonny Pacheco, Primitivo Santos and others in the United States.

With this project, the Son Borojol Orchestra has the objective that the public can enjoy different musical genres such as cumbia, danzones, salsa, boleros, Latin jazz and of course the son, a rhythm that every day continues to penetrate more and more in taste. popular of young people; since normally the more adult people who dance are montuno, habanero, bolero and son.

But apart from this particular objective, they have the following as their main idea:

“Our goal is to conclude some songs in the portfolio and prepare to travel to the United States, where they already want to get to know the orchestra, but for that we continue to rehearse hard, because we want to stay for many years to make our people happy every weekend and at private parties. How we are doing it ”, he expressed.

Hector Cuevas
Hector Cuevas selfie

Héctor Cuevas, who is currently the musical director, once commented… “In those trips that I took to the Dominican Republic, I always had the idea of ​​forming an orchestra of my own, since I have the experience because I had The Boston Latin Band, I met with my cousin Cuso Cuevas and we invited other proven musicians and today Son Borojol, it is a reality that continues to rise every day and our presentations speak for themselves, because we try every day to improve in quality, sound and interpretation ”.

Although he currently conducts the orchestra alone, he continues on in honor of his cousin Cuso Cuevas; During the Covid 19 pandemic, they took advantage of this time when all the events were canceled and the closure to record their new musical themes so that when the events opened they were ready for everything that came to them in the future; At least now in 2021 they began to open clubs and other venues, mobilizing dynamic activity in the country, of course with a much shorter work period than before or opening much earlier to take advantage of the regulatory time given by the government ( flexible quarantine)

Hector and Cuso Cuevas - Charanson
Photo of directors Hector and Cuso Cuevas

Currently they have many television offers and live events on the beaches of the country, and when everything is normalized with the pandemic, make their musical tour that was planned in 2020 to different countries of the world And as the penultimate stop in the USA and finally in the Dominican Republic .

A message to his viewers in this interview was the following: “That they take care of themselves, that they always have friends in their hearts and many blessings, and if they have a goal to follow that they do not deviate and always continue forward … nothing stops me and I keep moving forward and that’s what makes you feel good and reach that goal and don’t look back … ”

 

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Great conversación with conductor and timbalero Sammy Deleon

How Sammy Deleon’s career began to flourish

There have been uncountable artists who have lifted Latin music around the world, and one of them has been conductor Sammy Deleon. This American of Puerto Rican parents was born in Lorain, Ohio, on August 18, 1961, and grew up in the same county with his 14 brothers. He started his professional career with the Trio Puerto Rico when he was just 13 years old, after which he was already beginning to demonstrate his incredible musical skills. 

While it is true that neither of his parents were musicians, Sammy recalls with affection his mother while she used to sing at home and his father used to play the Puerto Rican cuatro during the Christmas season to celebrate the occasion to the sound of parrandas typical of the Island of Enchantment that were created for the occasion.   

This musician greatly enjoyed the work of Tito Puente, with whom he later developed a great friendship and an excellent working relationship. That happened on one night when the King of Timbales was playing a concert in Lakeview Beach. Deleon made his way to the stage, greeted the timbalero, wanted to talk to him and asked to play with him. After doing some soundtracks and a unique display of talent, Puente accepted to let him play and together they shone on stage by making one of the biggest dreams of Sammy a reality. 

After that, he ended up playing with Puente in his hometown, Orlando, New York and Puerto Rico. After many years, the same would happen with Tito Puente Jr. who would also take into account this musician’s talent for his shows. 

Sammy Deleon with his timbales
Sammy Deleon playing the timbales in one of his concerts

Deleon has shown diverse musical abilities throughout his career, but without a doubt, he has been successful in percussion, more than in any other. Likewise, he has dedicated much of his time and effort to exploring Latin and Afro-Cuban rhythms, resulting in a style that is unlike many other artists of his kind. 

For the last 10 years, he has managed to conduct his own group Sammy Deleon Y Su Orquesta, with which he has had many of his successes in his career so far, one of them the respect and admiration of a vast multicultural audience that is always seeking innovation in the music which they hear. 

During these years, he has managed to capture the attention of many DJs, dancers, and Latin music lovers thanks to his hard work and the enormous energy invested in each of his musical productions. Contigo Y Sin Ti and Baila Que Baila have been a gift to the ear on dance floors crowded with people of all musical tastes and different levels of skills in relation to dance and choreography. 

Everything he learned during his career has also been benefitial to other musicians, as Sammy uses his knowledge to mentor would-be percussionists who want to follow in his footsteps and those of the most acclaimed musicians in history. Unquestionably, a noble task for those who, at a certain point, had the same dreams.   

Sammy Deleon and his people
Sammy Deleon Y Su Orquesta

Interesting and emotional conversation with Sammy Deleon 

A very good morning to all of you. This is Karina Garcia, North American director for International Salsa Magazine. I am very happy today because we have a very special guest. This is none other than Sammy Deleon who is a composer, timbalero, and musician with a long-standing career. How are you, Sammy? How are you feeling today? 

I’m very well, thank you. I’m very well, thank goodness. From here in Cleveland, Ohio.  

All right, Sammy, could you tell me what pushed you to go into music? What inspired you? What did you decide to take this path and why did you chose percussion? 

Well, the one who put the music on was my father. Gumersindo Deleon was the one who started all this. I say he was a frustrated musician because his time was not very good, but slowly, he taught me and my two brothers Puerto Rican jibaro music when I was a little boy. Two years went by and one of my brothers was 15 years old, the other one was 14 and I was 13 when my brother taught us salsa when it was a boom in New York. That is how we started playing percussion on our own, since no one taught us.  

We listened to music every day and from there started singing in church choirs with trios, ensembles, jibaro music and, little by little, we kept going up, up, up. That is when my older brother Roberto, who was a timbalero before I do, saw that I were interested in the timpani than him while he was dedicated to the conga and my other brother Micky was dedicated to the bongo. Then the three of us were rehearsing almost every day and my dad said that we were too loud when playing percussion. Years passed and my brother Roberto moved to Florida, my brother Micky moved to Kansas City and I were alone here.  

I have been playing since I was 13, starting with the Trio Puerto Rico and, later, I started playing with a group called Conjunto Nabori with music by Cheo Feliciano and we were doing it with vibraphones, congas, timbales and so on. From there, we joined an orchestra called Charambo (meaning charanga and mambo) where I stayed for 10 years. Next thing after that, the orchestra was going to break up, another merengue group called Orquesta Marquis was being created when merengue was in full swing in the 90s. After being part of that orchestra for five years, we had a problem with the director, so we fired him and changed the name to Orquesta Impacto Nuevo where I stayed for 10 years. After burning the CD, we went to Florida to promote it and, after that, a few things did happen and I decided to go back to Ohio.  

We created a group under my own name, so it was called Sammy Deleon Y Su Orquesta with which we have worked for almost 25 years now. We have joined many different singers. When we were in the Charambo Orchestra, we performed with Tito Puente, Adalberto Santiago, Chivirico Dávila, Vitín Aviléz, Conde Rodríguez, Luisito Carrión, Tito Rojas, Tony Vegas and many more. We played with Ismael Mirando for over a year and I won several awards in the city as Legend of the year and it was a big thing. I use an orchestra composed of 18 musicians and played mambo created by Tito Puente and Los Mambo Kings.  

Remember that I come from a big family in which we were 14 siblings, 8 sisters and 5 brothers. The oldest was a DJ for many years and the one who brought salsa here in the 70s and 80s. I also had the joy of playing with the Gran Combo de Puerto Rico two years ago because their timbalero got sick, which is why I had the opportunity to play with them a couple of times while he was getting better. We have played in Buffalo, Cincinnati, New York, Los Angeles and many other places. 

Sammy Deleon at the Jazz Fest Cleveland
Sammy Deleon performing at the Jazz Fest Cleveland

All right, Sammy. Everybody knows very well your admiration for Tito Puente before you even became a famous musician. In fact, I remember seeing an interview with you in which you recount an anecdote of how you met and played with him. 

Thank you. You brought up a very cool issue. One time, Tito Puente came here to Cleveland, Ohio, in 1979. There was a big concert in Lorain, where I was born and raised. He played during the day, and at night, we went to watch him at a well-known jazz club. There, a friend of mine offered to give me 20 pesos if I was going to play with him, to which I replied yes. So I went to the stage, made a hand gesture, said give me a break and I do not think he heard me. However, he looked at me and told me to get close to him. When I was up on the stage, he said look at me, listen and don’t touch anything yet. That is when he did something, I did the same and we are continuing to do so. That was the last song on his set. He took me into his dressing room, asked me where I was from. I told him I was from Loraine, Ohio.  

He asked me who taught me to play and I told him I was just self-taught. He said no way!, and can you read music?, to which I answered no, but that I was learning to do it. Then, he told me that I had a great future in front of me and to keep playing the timbales because that is an instrument that requires a lot of strength to be played because it is not like a 4-drum battery. So basically, he told me to move on because I was going to have a good future in front of me. He died several years later, but I played with him a couple of times here in Cleveland, New York, Orlando, and Detroit, Michigan.  

After his death, I met his son, Tito Puente Jr. who came to Cleveland. I conducted an orchestra composed by 17 musicians, he played all of his father’s songs and we had a good time. When he comes in October, I have to provide him with the group again. Playing with Tito Puente was one of the best moments I have ever had. 

You commented in that interview and now that it was memorable for you to play with Tito Puente. Apart from that, what other memorable experience could you mention? 

There is an experience I had in 2016 when I won the jazz salsa and legend award. I was labeled a legend – imagine that, me a legend! Since when am I a legend? That took me by surprise when I got the prize. I am still shocked (crying). I didn’t expect that award because other musicians have had more years of trajectory than me.  

When the lady called me and said me what’s going on, I asked her if she was sure of what she was saying and she answered yes. After hanging up the phone, I sat down and cried because I did not expect this. I had to call my family and explain to them what was going on. The day I got the prize, my whole family was there with me. To this date, it still shocks me because it was a very special day for me. I pray to Him not to cry again because these things enter my heart.   

How does it feel to be on a par with your idols? How does it feel to play with them and to see the road you have taken? 

It has been amazing to accompany artists such as Tito Puente or Tony Vega, who are on another level and I am trying to get there. I’m already old man and coming up on 60 years old, but I still have a way to go and try to pull ahead step by step. I’m going to make it, but it was an honor to play with all those legends. We have opened up for many groups such as La Sonora Ponceña, La Mulencia, Luis Henrique and so on. I will never forget those days and times.   

Sammy Deleon and Bobby Valentin
Sammy Deleon next to Bobby Valentin

I understand that you have been responsible for training young people who wish to become percussionists, is that right? 

Yes, we are working with guys from Ohio to teach them about salsa, percussion, instruments and many other things. There are many who leave, but there are always two or three who stay on. Right now, we’re teaching kids all about salsa, which I love to do because I will not last long around here. 

In what way has teaching contributed to your career? What is the most valuable thing you have learned from your students? 

I learn that you have to be humble in life. When those boys go home and tell their parents that I’m teaching them, many of the family members want to come see what their kids are doing here. So I am working hard to see that they are learning only positive things and using their time well. What if they will be able to make good money and even become professionals about this in the future?

How do you think these young people perceive your music? 

Many young people opt for Reggaeton, which is what is fashionable, but I give thanks that I have achieved that two or three young people stay with me to learn. They want to learn to play the bongo, the conga, the timbales, and other things. I always look for more of them to get them interested in salsa. 

Sammy Deleon playing the timbales and posing before the camera
Sammy Deleon posing before the Camera while playing the timbales

What do you do outside the recording studios and off the stage? 

I love sports. When there is a basketball or football game (my favorite) that I want to see, there is no one to stop me from watching it.   

Do you practice any of them? 

Basketball, but I am too old for that. I used to play a lot, but I don’t do it anymore.   

What advice do you have for young people who want to devote themselves to music in the context of this pandemic? 

The only advice that I can give to someone who wants to learn to play music is to study, learn to read music, and choose an instrument before learning to play others. Many young people want to play many instruments at the same time, but they don’t master one. You have to master an instrument before trying to learn to play others.   

  

Email: [email protected]  

  

Facebook: Sammy Deleon 

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Roniel Alfonso Mella Music Producer, Orchestrator, Composer and Instrumentalist

Roniel Alfonso y Son del XXI Orchestra

Born on December 8, 1974 in the city of Matanzas-Cuba.

He enters in 1996 in the National School of Art (Ena) in, where he graduated in 2000 in the specialty of Guitar, Tres, and Ensemble Direction, in his student stage he was part of groups like Septeto Cohiba, Cuba Nueva, Conjunto Chapotin y sus Estrellas, Clave Cubana, Charanga Latina, etc.

In 2000 he was the founder of the Gardi Orchestra, of which he was its musical director, making several tours abroad with this orchestra and taking care of the musical direction of his first album ”Gardi” and the authorship of most of his songs.

In 2005 he participated in the prestigious contest of the Cuban TV Adolfo Guzman where he was 2nd prize in the category of dance music with a song that he orchestrated and produced, being interpreted by Joaquin More.

Roniel Alfonso Mella, Omara Portuondo y Aymee Nuviola
Roniel Alfonso Mella, Omara Portuondo y Aymee Nuviola

Later he joined the ranks of Haila María Mompie, being in charge of the musical direction of the band.

In 2006 he joined the Cuarteto Fusión with which he toured abroad for a long period of 4 years in countries such as Oman, Egypt, and Jordan.

In 2010 he returned to Cuba and made the musical production entitled Mala, Haila’s 5th album, which was awarded the Cuba Disco Award 2012, in the category of Latin music. At the same time, he returns to the orchestra and is once again in charge of the musical direction.

In 2011 he was in charge of the musical production of several artists, such as the Cuban singer Leoni Torres, 3rd album production of this, entitled “salseando” which was nominated for the Cuba Disco 2013 in the category of popular dance music and nominated for the Latin Grammy 2013 in tropical music, another production was the American percussionist Luis Carreras, entitled Luis Carreras and The Cuban Stars Project album that orchestrated and composed all his songs.

Roniel Alfonso and Son del XXI Orchestra Born on December 8, 1974 in the city of Matanzas-Cuba.
Roniel Alfonso Mella
Music Producer, Orchestrator, Composer and Instrumentalist

In 2012 he was part of the work team of composer and producer Descemer Bueno in his album “Bueno” which was awarded the “Cuba Disco Award 2013”, working frequently with him in numerous productions.

As a composer he has written songs for prestigious performers of our country such as Issac Delgado, Haila, Omara Portuondo, Leoni Torres, Aymee Nuviola, Yumuri, Alexander Abreu, Coco Freeman, Mario Rivera, Gardi, Calunga, Ricardo Amaray, Sixto Llorente, “El Indio”, Maykel Ante, Pedro Lugo “El Nene”, Wil Campa, Tania Pantoja, El Noro, Luna Manzanares, Hector Daniel, Alain Daniel, Rosaliz, Ruben y Gabi, Yai Valcarcel, Indira Hernández.

Internationals such as Jose Alberto “El Canario” (Dominican Republic), Dlg (USA), Ng2 (Puerto Rico), Willy Garcia (Colombia), Josimar (Peru), Septeto Acarey (Peru), Kewenaonda, David Kada (Dominican Republic), Nikki Alva (USA), Miguel Angel Caballero (Chile), Agustin Aspa (Spain), Orlando Max (Angola).

As a producer, he has collaborated with national and international artists.

Enrique Iglesias (Spain), Gilberto Santa Rosa (Puerto Rico), Jose Alberto ”El Canario” (Dominican Republic), Luis Enrique (Nicaragua), Olga Tañon (Puerto Rico), Dlg (USA), Ng2 (Puerto Rico), Willy Garcia (Colombia), Bebe (Spain), Nikki Alva (USA), Miguel Angel Caballero (Chile), Kewenaonda (Dominican Republic), Arturo Ortiz, Calle 7 (Puerto Rico), Septeto Acarey (Peru), David Kada (Dominican Republic), Luis Carreras (USA), Agustin Aspa (Spain), Orlando Max (Angola), Lalo Santos (Mexico) and Orly Solomon (Israel).

Roniel Alfonso Mella con Gilberto Santa Rosa
Roniel Alfonso Mella con Gilberto Santa Rosa

Nationals Omara Portuondo, Chucho Valdés, Gonzalo Rubalcaba, Aymee Nuviola, Grupo-Orichas, Leoni Torres, Descemer Bueno, Gente de Zona, Issac Delgado, Haila, Charanga Habanera, Alexander Abreu, Los Muñequitos de Matanzas, Mayito Rivera, Sixto Llorente, Yumuri, El Noro, Emilio Frías, Paulo Fg, El Nene, Septeto Santiaguero, Tania Pantoja, Coco Freeman, Alain Daniel, Wil Campa, Gardi, Ricardo Amaray, Calunga, Mandy Cantero, Roberton (Van Van), Maykel Ante, Luna Manzanares, Arlenys Rodríguez, Yenisel Valdés, Omi, Nelson Valdés, Yoyo Ibarra, Mayco de Alma, Héctor Daniel, Dayani Gutiérrez, Laritza Bacallao, Juan Guillermo, Rubén and Gabi, Alexis Zamora, Alain Pérez, Rosaliz, Eylen Remón, Yai Valcarcel, Beby Verdecia, Zunilda, Leo Garrido, Heydi Chapman, Trio d’ Ley, Mulatason, Insurrecto, Joaquín More, Karamba, Alisbet Reyes, Compañia de Danza “Rakatan Azúcar Negra, Patricio Amaro, Aíran Muñoz, Yani, Ángel Yos, Jose Luis Cortes, Osain del Monte, Son del Guaso, Orquesta Failde, Conga “Los Hoyos”, Lenny de la Rosa, Indira Hernandez, Liz Castillo, etc….

Achieving Hits such as “Idilio”, “Vivir Sin Ti”, Soledad (Leoni Torres)” Mala”, “Baila”, (Haila), “Si no Fuera por Ti”, Gardi, Lloro por ti, La Vida es Buena, Súbeme la Radio, Nos fuimos lejos, (Descemer Bueno).

In 2013 he started his own record production, entitled -Roniel Alfonso presents “Son del XXI”, this CD comes out under the label Egrem in 2016, nominated for the Cuba Disco 2017 in this is responsible for the musical production, orchestrations, and composition of each of the themes, the album that shows his vision of what would be the son of this XXI century, our purest and most traditional son, mixed with the new influences of this era. The album features performers such as Issac Delgado, Yumuri, Haila, Calunga, Mario Rivera, El Indio, El Nene, Wil Campa, El Noro, Alexander Abreu and Orlando Max (Angola) going deeper into his work as an orchestrator, using different orchestral formats, such as the Típica Orquesta Salsera, Jazz-Band, Grupo de Rumba and Septeto Tradicional.

In August 2014 he has invited Lucas to the gala offered in tribute to Formell to be in charge of the musical production of several themes of this great Cuban musician, with performers such as Laritza Bacallao, el Indio, el Noro, Dayani Gutiérrez, and el Niño.

In 2016 he collaborated in the 2nd edition of the television program sonando en Cuba where 3 songs of his authorship and 5 songs produced by him previously for other singers were interpreted, being interpreted this time by the contestants of this event.

In 2017 his song “Baila” sung this time by Haila and Alain Perez was the theme of the television program “Bailando en Cuba”.

In June 2017 he obtains the silver trophy (2nd place) at the International Music Festival “Viva la Música”‘ in the category original song, with his song “Que Locura” sung by Roberto Pulido, a Cuban singer based in Switzerland.

In 2018 under the record label Top Stopmusic is in charge of the musical production and all orchestrations of the CD AJourney Through Cuban Music of the great Cuban singer Aymee Nuviola, Grammy Awards Winner 2020 and nominated for the Grammy 2019 in the category of Best Traditional Tropical Album in which music stars such as Chucho Valdez were present, Gonzalo Rubalcaba, Omara Portuondo, Muñequitos de Matanzas, Septeto Santiaguero, Pancho Amat, Coto, Samuel Formell, Mario Rivera and his first single “Donde estabas anoche” was positioned at number 6 on the Billboard chart.

In March 2019 he has the honor of being accepted as a voting member of the Latin Academy of Laras Recordings (Grammy).
Grammy 2019 in the category of Best Tropical Traditional Album

In March 2019 he has the honor of being accepted as a voting member of the Latin Academy of Laras Recordings (Grammy).

On June 14, 2019, he founds his Orchestra “Son del XXI”, an orchestra that will have two objectives, to function by itself with its repertoire and its singers and also to continue accompanying the record productions to the many performers who request my work.

He is currently putting the final touches on his new production Roniel Alfonso y Son del XXI Orquesta, which will have national and international guests such as Jose Alberto “El Canario”, DLG, Septeto Acarey, Willy Garcia, Ng2, Nikki Alva, Aymee Nuviola, Leoni Torres, Issac Delgado, Haila, and will be released under the record label Puntilla Music based in Miami.

Alain Pérez invitado al Cd. Pa mi tres
Alain Pérez y Roniel Alfonso

He has worked in productions such as:

Sun and Soul (Canada)-2000

Carmen Flores (Babalu)

Latin Man Bobamba (Japan) 2000 Oasis Records

Helito George (Italy) (Simply My Way) 2002 Musical Production

Gardi “Gardi” 2003(Bis/Music) Musical Direction

Beby Verdecia “Montaña Mia” 2005 Colibrí

Issac Delgado “Prohibido” 2005 Luz Africa

Gardi “Lo que tu Querias” 2008 Egrem

Leo “Rodo de mi” 2009 / Egrem (Nominated Cuba Disco 2013)

Havana Heavy Hitters “Vestido de blanco” 2010

Haila 2011 “Mala” Bis Music (Cuba Disco Award 2012) music production

Luis Carreras (USA) 2012 8 y 5 Studios Music Production

Leoni Torres 2012 “Salseando” Egrem (Nominated Cuba Disco 2013) music production

Descemer Bueno “Bueno” Bis Music Emi 2012 (Cuba Disco Award 2013)

Zunilda “A mi tierra” 2012 Colibrí (Nominated Cuba Disco 2014)

Agustín Aspa (Spain) 2013 “De la Habana a Barcelona” Cuba Music Musical Production

Willie de Cuba” Prohibido” Italy) 2013

Luna Manzanares Egrem 2013

Eilen “Aquí estoy” 2014 Cuba Music

Gala Lucas “Tribute to Formell” 2014

Héctor Daniel “Alegría pa’ mi gente Cuba Music 2016-Music Production

Nelson Valdés and Leoni Torres “Tribute to Omara Portuondo” 2014 Bis Music

Omi (USA) 2014

Juan Guillermo Egrem 2015

Rosaliz “Dame Salsa” Egrem 2017 (Nominated-Cuba Disco 2018) Musical Production

Mulata Son “Mujer y Artista” Cuba Music 2017-Music Production

Issac Delgado” Made in Habana” Egrem 2016 (Nominated-Cuba Disco 2017)

Yoyo Ibarra “Tropical” Egrem 2017 Musical Production

Yai Valcarcel “Mi Esperanza” Yagruma S.A 2015

Miguel Herrera “Hoy quiero Fiesta (Sweden) 2017 Cuba Music and Egrem 2019 Music Production

Yenisel Seva “Romántica” (2016) Cuba Music Musical Production

Dance Company “Rakatan” 2016

Roberto Pulido “Mi locura” (Switzerland) 2016-2018 Music Production

Charles Manuel (Spain) 2017 Musical Production

Roniel Alfonso Presents “Son del XXI” Egrem 2017 (Nominated Cuba Disco 2017) Music Production

Gala “55 Aniversario del Icrt” 2017.

Miguel Ángel Caballero “Vista Fija” Blam Producciones 2017 Music Production

Kewenaonda “Arriésgate” (Dominican Republic) 2017-2020 Music Production

Enrique Iglesias Feat Gilberto Santa Rosa” Súbeme la radio” (Salsa) 2017 Music Production

Lalo Santos “Caribe 2018” (Mexico) (Mexico)

Azúcar Negra Egrem 2019

Patricio Amaro 2017 Musical Production

Haila” Canta a Armando Manzanero” Egrem 2018 (Cuba Disco Award of Honor 2019)

Grupo Orichas Feat. Luis Enrique” Sastre de tu Amor” (Salsa) 2018

Miguel Herrera (Sweden) 2018 Egrem Produccion Musical

Issac Delgado 2018

Descemer, Enrique Iglesias y Charanga Habanera “Nos fuimos lejos” (Salsa) 2018 Musical Production

Descemer, Enrique Iglesias y bebe-”nos fuimos lejos”(Acoustic) 2018 Musical Production

Leoni Torres “Amor bonito” Egrem 2019

Orquesta Failde y Omara “Homenaje a Benny” Egrem 2019 (Cuba Disco Award 2019)

Aymee Nuviola” Journey Through Cuban Music” Topstop Music 2019 Production Musical (Grammy Awards Winner 2020), (Latin Grammy Nominee 2019)

Nelson Valdés “Cubriendo Ausencias” Bis Music 2019 (Nominated-Cuba Disco 2019)

Leoni y Gente de Zona “Mejor sin ti” (Salsa) 2019 Music Production

Indira Hernández 2020 Music Production

Lenny de la Rosa 2020 Music Production

Yarima y Sabor Latino “Pa mi Tres” Egrem-Soundwear 2020 Musical Production

Leoni Torres “Deja la Tristeza” 2020 Music Production

Septeto Acarey ‘”Vamos a Pasarla Bien” 2021 Musical Production

Wil Campa “Zapato Nuevo” Egrem 2020 Music Production

Angel Yos Egrem 2020

Liz Castillo 2021 Bis Music Music Production

Gabriela 2021 (Denmark-Cuba) Music Production

Nesty-2021 (USA) Music Production

Kel-2021 Music Production

Cd Herederos (Tribute to Irakere) Egrem 2021

Roniel Alfonso and Son del XXI Orchestra 2021-Puntilla Music.

Orlando Valle, verdadero nombre del instrumentista "Maraca"
Orlando “Maraca” Valle y Roniel Alfonso

Facebook: Roniel Alfonso Mella

By: Diana Marie International Salsa Magazine Miami Correspondent

Salsa Superior
Salsa Superior Award
Diana Marie
Lady of Salsa 2021

International Salsa Magazine

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Flashback: Arturo “Chico” O’Farrill

The Architect Of Afro-Cuban Jazz

Arturo "Chico" O'farrill with reading glasses and sitting
In memory of the 20 years of his physical disappearance

Arturo O’Farrill, better known as “Chico” O’Farrill was born on October 28, 1921, in Havana (Cuba) at the height of Son. He had a normal childhood like any son of a Jewish family raised to continue the family profession, Law.

In the 1930s Chico was admitted to the Riverside American Military School in Gainesville, Georgia. His father, an eminent Irish lawyer recognized in the Afro-Caribbean country, decided to intern him to continue his studies.

During his stay at that institution, O’Farrill discovered the great jazz orchestras that made life in that territory. Those bands were known by the name of Big Bands. He entered that musical environment and began his process of love and passion for the industry. He listened to recordings by Benny Goodman, Artie Shaw, Glenn Miller, and Tommy Dorsey while learning to play the trumpet on his own. In almost immediate time Chico became the trumpet player for the school’s military band and large dance groups.

Years later, Arturo returned to Cuba. He studied the same profession as his father (Law) and at the same time with his studies, he developed his facet as a composer. He received composition and harmony classes from important island musical instructors such as Félix Guerrero.

His progress, determination, and development in music were unstoppable. He was a member of the Armando Romeu Bellamar Orchestra and the Isidro Pérez Orchestra at the time of Mambo and Son, rhythms that prevailed and enhanced Latin music for decades.

MUSICAL HISTORY

Arturo "Chico" O'Farrill seated and in black and white
Chico O’Farrill dabbled in rock

“The Architect of Afro-Cuban Jazz” worked for four years (1943 – 1947) in Montmartre, the Cuban cabaret with the greatest French style. In the same way, he belonged to the Bellamar Orchestra, directed by Armando Romeu with Luis and Pucho Escalante, and Mario Romeu, among many other members.

As a trumpeter, Arturo traveled to Mexico and Europe. He created Los Raqueteros del Swing band, being the director and member of the orchestra. Subsequently, he founded Los Beboppers (the first Cuban bop group) with continuous performances at the Hotel Saratoga. Here, Chico was once again at the helm as director of the band and musician with his related instrument, the trumpet.

In the 1950s he began his successes as an arranger, working briefly for various musical directors such as Gil Fuller, Noro Morales, Frank “Machito” Grillo, and Benny Goodman.

Likewise, he composed his first masterpiece, Afro-Cuban Jazz Suite in five movements: Canción, Mambo, 6/8, Jazz, and Rumba Open. This masterpiece of composition was made and recorded for the imprint of the businessman Norman Granz, with the Machito Orchestra as the rhythmic base and accompanist.

The expert comments on Afro-Cuban Jazz Suite were numerous, but here are two of the most outstanding opinions:

Luc Delannoy: “It 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). These two instruments are joined by the oboe, followed by the trumpets, saxophones, and the double bass “Tumbao”… After a return to swing and bebop in the fourth movement, Chico takes us back to the origins of Latin jazz with a melody of clear Arabic accents, before immersing himself in the universe of Afro-Cuban percussions.”

And Benny Carter commented on the Afro-Cuban Jazz Suite the following: “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.”

Arturo "Chico" O'farrill dressed in black and with a red background
His last album was Heart Of A Legend

After the enormous success of this powerful piece of music, O’Farrill wrote Cuban Fantasy for Stan Kenton during his stay in New York (EE.UU). However, Kenton eventually changed the name of the piece and it was called the Cuban Episode.

In 1953 he moved from New York to the California state and founded his orchestra with renowned musicians such as Mario Bauzá, Doug Mettome, Jimmy Nottingham, Eddie Bert, Fred Zito, Lenny Hambro, Flip Phillips, and the saxophonist Eddie Wasserman. The orchestra used the Afro-Cuban rhythmic section of Machito, harp, and oboe.

Under this concept, he recorded for Norman Granz and performed in two emblematic venues of the American Jazz music scene: Birdland (New York) and Hat Ballroom located in Los Angeles, California. During this period he composed three new movements: “La Jungla”, “Contrast”, and “Rhumba Finale”, baptized as “Manteca Suite”. The latter recorded in 1954 with Jazzist Dizzy Gillespie and an orchestra with 21 talented musicians.

In 1956 he returned to Cuba in search of inspiration and immediately began to work for the best record companies such as Panart and RCA Víctor. In this record label, he made “Chico’s Cha-Cha-Cha”, adapting the Charanga rhythm to the Big band format. This album was released, once again, on compact disc by BMG during the last decade of the 20th century.

Two years later the restless O’Farrill traveled to Mexico due to the great platform that this country provided for Latin American musicians at the time. During that residency, he once again stood out with a special sound. He appears on television as music director for singer Andy Russell, and there his life takes a dizzying turn. He started the semi-retirement period but never stopped composing. By that time, he composed his next and one of his greatest works “Azteca Suite” for trumpeter Art Farmer. And he made history once again!

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

In this stage that lasted until the end of the 20th century and already in the 70s, the Big bands went from being an innovation to being displaced by other rhythms that were rapidly increasing in popularity. These genres used new techniques, styles, sounds, and harmonies. It led to the appearance of icons in Jazz and the disappearance of the exclusive Bing bands for ballroom dancing.

For this reason, Chico O’Farrill reinvents himself and begins to work in the lucrative field of music for audiovisual advertising.

Arturo "Chico" O'farrill in black and white
Pure Emotion album earned a Grammy Award nomination for Best Latin Jazz Performance

In the mid-nineties, American Jazz producer and director Todd Barkan contacted the “Afro-Cuban Jazz Architect” to pay tribute to his career with a compilation of his musical hits. The name of the album was Pure Emotion and it got a nomination for Best Latin Jazz Performance at the 37th Grammy Awards.

O’Farrill toured Europe with his orchestra in 1996 and recorded his latest album entitled “Heart Of A Legend” with 14 tracks.

For this album, they had an orchestra of 18 musicians and a collaboration of international artists. The arrangements and musical direction of “Heart Of A Legend” were in charge of his son Arturo O’Farrill Jr. and who continues with his legacy.

On June 29, 2001, at 80 years old in New York City, Arturo “Chico” O’Farrill passed away.

Undoubtedly, Chico O’Farrill was always a visionary, and he was at the forefront for more than half a century of the musical genre today recognized worldwide as Latin Jazz.

In memory of the 20 years of his physical disappearance

Arturo “Chico” O’Farrill Forever!

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The man who conquered Hollywood

The magic of a great musician is that he has the key to open your soul.  He takes you to a dimension full of happy emotions, you forget all your pain and troubles and you just dance!  For the Yoruba’s, one of the sons of Obatala, is Changó. He represents strength, virility, drums, music, fire, lightning, dance, justice, the need and joy for living.  If one person was all of that, it was Mr. Johnny Polanco.  Mr. Polanco is dearly remembered by all those whose life he touched.  This June 2nd marks the sixth year of his passing.   Altagracia and Socrates, from Puerto Rico and Santo Domingo were his parents.  They lived in the Bronx in New York.  Socrates was the owner of an auto mechanic shop.  This is probably where Johnny first came into contact with automobile engines.  He developed a passion for working with automobile engines.  Johnny graduated from Alfred E. Smith High School; a school reputed for teaching shops.  It’s very probable that he furthered his knowledge of engines there. His talent grew to engineering levels.  If anyone could fix a problem on an engine, it was Johnny.  All the musicians knew that if there was a problem, it was Johnny who could fix it for them. There’s a story about how DJ Robbie called Johnny at home one such time at around 3:00 am and Johnny got out of bed and went to his aid.   His other passion was music.  Johnny never attended music school.  He mastered a number of instruments, all on his own. Everyone says that around five years of age, he was given a guitar.  But it wasn’t until the age of ten, that he became serious in learning music.  At the age of fourteen, he was already playing with the Steve Colon band. He played with a number of New York groups, Charanga Sensual, Conjunto Saoco to name a few. Johnny had flat feet, but nonetheless in 1979 he enlisted in the United States Marine Corp.  The Marine Corps capitalized on his knowledge of engines and assigned him to the motor pool. His early assignments were in Camp Lejeune, North Carolina, Parris Island, South Carolina, and Okinawa, Japan. Johnny was a patriotic American who loved and served his country.  Just before enlisting in the service at twenty-four, Marion Gonzalez gave birth to Christopher and three years later to Melody.  In 1980 the marines sent Johnny to the west coast, Camp Pendleton, California. Marion and Johnny married, but their union did not survive. Marion and Johnny had joint custody. Johnny’s visitation turn was usually from Fridays after school to Monday morning, returning them to school.  In 1984 Johnny was playing at the New Porter Inn, in Newport Beach, California.  That night he met Joanna, a lady from Bronx.  They say it was love at first sight.  On January 23, 1987 they married and she remained his companion for the rest of Johnny’s life.  Joanna worked as a Registered Nurse and had two children of her own, Angela and Anthony Wheaton.  They made their home in Lakewood, California, where they had all their four children together on the weekends.  They were fortunate, because the kids all got along well. Some called them the Brady Bunch.

Johnny Polanco and Conjunto Amistad
Johnny Polanco and the rest of the members of Conjunto Amistad.

The long full gear marches and Johnny’s flat feet became a problem. In 1987, with the rank of E-5 sergeant, Johnny decided to be a full-time musician and separated from the Marines.  Close to their Lakewood home Johnny took a daytime job working for Mr. Tom Scott a Union 76 service station owner. Johnny stayed with Tom for next six years, when Tom sold in 1992.  The job was conveniently within walking distance of his Lakewood home.

In this gas station Johnny Polanco worked many years
Union 76 gas station where Johnny Polanco worked for many years.

In Hollywood, there was a Vietnam disabled veteran who had been studying business, Armando Castro.  Completing his studies, Armando opened a small restaurant. Although of Nicaraguan origin, Armando decided to serve Cuban food and named the restaurant El Floridita. On Monday nights they started to play Salsa.  Cali Aleman was the first band that played.

Armando Castro Floridita owner
Armando Castro owner of El Floridita

In 1993 Orquesta Versatil was playing on Monday nights. It was then that Armando Castro introduced Johnny to the band leader, Carlos Navarro.  At the time Versatil was a popular, strong, well liked band and Johnny fitted right in.  Then things started to happen, the band leader Carlos had to fly to Venezuela, also the arranger Niño Jesus Alejandro went to Canada. So, they held a meeting with Armando.  “mete mano Johnny, put a band together and take over.”  For the next 22 years Johnny played Monday night with his Conjunto Amistad at El Floridita.   Johnny’s band was in demand.

Carlos Navarro leader of Orquesta Versatil
Carlos Navarro band leader of Orquesta Versatil.

Albert Torres was a consultant and MC to over 50 yearly Salsa Congress’ around the world.  Albert had a lot of connections and started to manage Johnny for some 15 years.  With Albert’s connections the band played in Japan, England, Italy, Spain, China, Thailand, Mexico, Costa Rica to name a few.  Everyone was busy with little time to spare, eventually Johnny started handling his own bookings and the relationship with Albert just disappeared.

Albert Torres manager of Johnny Polanco
Albert Torres managed Johnny Polanco for 15 years.

In business they always say location, location, location! Nothing could be truer than that for “El Floridita.”  You see folks, this little restaurant in a small strip mall, is just across the street from … Pickford Center.  What’s Pickford Center? It’s the film industry Academy of Arts.  You know the “Oscars!”  The clientele boasted of directors, writers, producers, actors like Patrick Swayze, Jay Leno, Jennifer Lopez, Nicole Kidman, Robert Duvall, Mick Jagger, Edward Olmos to name a few.  They didn’t just go there to eat; it was the film industry’s connection to Salsa and the work just poured in.  Johnny played for Hugh Heffner at the Playboy mansion and also the Playboy Jazz Festival. Prince chose Johnny to be his opening act in Las Vegas.  Johnny did the music for countless films (see bio).    When a victorious general was paraded in Rome, above his head, a slave would hold the laurel reave, while at the same time continuously whispering “this too shall pass.” The idea was to keep him grounded. Johnny didn’t need that.  He was a man who saw the injustice in the world and was always looking out for the little guy, the underdog.  He was a man who shared the wealth.  Many remember how Johnny would call them to give their bands work.  To this day many a story is told about how Johnny helped them out.  He was a man who in his car, would carry cat food and milk to feed the strays.  May God bless you in heaven Johnny.  We remember you as a kind man who loved and cared for the poor.   His accomplishments were so many that we created a link for you to view the photos and also his biography of recognitions and accomplishments.

Changó

The magic of a great musician is that he has the key to open your soul.  He takes you to a dimension full of happy emotions, you forget all your pain and troubles and you just dance!  For the Yoruba’s, one of the sons of Obatala, is Changó. He represents strength, virility, drums, music, fire, lightning, dance, justice, the need and joy for living.  If one person was all of that, it was Mr. Johnny Polanco.  Mr. Polanco is dearly remembered by all those whose life he touched.  This June 2nd marks the sixth year of his passing.  Altagracia and Socrates, from Puerto Rico and Santo Domingo were his parents.  They lived in the Bronx in New York.  Socrates was the owner of an auto mechanic shop.  This is probably where Johnny first came into contact with automobile engines.  He developed a passion for working with automobile engines.  Johnny graduated from Alfred E. Smith High School; a school reputed for teaching shops.  It’s very probable that he furthered his knowledge of engines there. His talent grew to engineering levels.  If anyone could fix a problem on an engine, it was Johnny.  All the musicians knew that if there was a problem, it was Johnny who could fix it for them. There’s a story about how DJ Robbie called Johnny at home one such time at around 3:00 am and Johnny got out of bed and went to his aid.
His other passion was music.  Johnny never attended music school.  He mastered a number of instruments, all on his own. Everyone says that around five years of age, he was given a guitar.  But it wasn’t until the age of ten, that he became serious in learning music.  At the age of fourteen, he was already playing with the Steve Colon band. He played with a number of New York groups, Charanga Sensual, Conjunto Saoco to name a few.
Johnny had flat feet, but nonetheless in 1979 he enlisted in the United States Marine Corp.  The Marine Corps capitalized on his knowledge of engines and assigned him to the motor pool. His early assignments were in Camp Lejeune, North Carolina, Parris Island, South Carolina, and Okinawa, Japan. Johnny was a patriotic American who loved and served his country.  Just before enlisting in the service at twenty-four, Marion Gonzalez gave birth to Christopher and three years later to Melody.  In 1980 the marines sent Johnny to the west coast, Camp Pendleton, California. Marion and Johnny married, but their union did not survive. Marion and Johnny had joint custody. Johnny’s visitation turn was usually from Fridays after school to Monday morning, returning them to school.
In 1984 Johnny was playing at the New Porter Inn, in Newport Beach, California.  That night he met Joanna, a lady from Bronx.  They say it was love at first sight.  On January 23, 1987 they married and she remained his companion for the rest of Johnny’s life.  Joanna worked as a Registered Nurse and had two children of her own, Angela and Anthony Wheaton.  They made their home in Lakewood, California, where they had all their four children together on the weekends.  They were fortunate, because the kids all got along well. Some called them the Brady Bunch.

The long full gear marches and Johnny’s flat feet became a problem. In 1987, with the rank of E-5 sergeant, Johnny decided to be a full-time musician and separated from the Marines.  Close to their Lakewood home Johnny took a daytime job working for Mr. Tom Scott a Union 76 service station owner. Johnny stayed with Tom for next six years, when Tom sold in 1992.  The job was conveniently within walking distance of his Lakewood home.

In Hollywood, there was a Vietnam disabled veteran who had been studying business, Armando Castro.  Completing his studies, Armando opened a small restaurant. Although of Nicaraguan origin, Armando decided to serve Cuban food and named the restaurant El Floridita. On Monday nights they started to play Salsa.  Cali Aleman was the first band that played.

In 1993 Orquesta Versatil was playing on Monday nights. It was then that Armando Castro introduced Johnny to the band leader, Carlos Navarro.  At the time Versatil was a popular, strong, well liked band and Johnny fitted right in.  Then things started to happen, the band leader Carlos had to fly to Venezuela, also the arranger Niño Jesus Alejandro went to Canada. So, they held a meeting with Armando.  “mete mano Johnny, put a band together and take over.”  For the next 22 years Johnny played Monday night with his Conjunto Amistad at El Floridita.   Johnny’s band was in demand.

Albert Torres was a consultant and MC to over 50 yearly Salsa Congress’ around the world.  Albert had a lot of connections and started to manage Johnny for some 15 years.  With Albert’s connections the band played in Japan, England, Italy, Spain, China, Thailand, Mexico, Costa Rica to name a few.  Everyone was busy with little time to spare, eventually Johnny started handling his own bookings and the relationship with Albert just disappeared.

In business they always say location, location, location! Nothing could be truer than that for “El Floridita.”  You see folks, this little restaurant in a small strip mall, is just across the street from … Pickford Center.  What’s Pickford Center? It’s the film industry Academy of Arts.  You know the “Oscars!”  The clientele boasted of directors, writers, producers, actors like Patrick Swayze, Jay Leno, Jennifer Lopez, Nicole Kidman, Robert Duvall, Mick Jagger, Edward Olmos to name a few.  They didn’t just go there to eat; it was the film industry’s connection to Salsa and the work just poured in.  Johnny played for Hugh Heffner at the Playboy mansion and also the Playboy Jazz Festival. Prince chose Johnny to be his opening act in Las Vegas.  Johnny did the music for countless films (see bio).
When a victorious general was paraded in Rome, above his head, a slave would hold the laurel reave, while at the same time continuously whispering “this too shall pass.” The idea was to keep him grounded. Johnny didn’t need that.  He was a man who saw the injustice in the world and was always looking out for the little guy, the underdog.  He was a man who shared the wealth.  Many remember how Johnny would call them to give their bands work.  To this day many a story is told about how Johnny helped them out.  He was a man who in his car, would carry cat food and milk to feed the strays.  May God bless you in heaven Johnny.  We remember you as a kind man who loved and cared for the poor.
His accomplishments were so many that we created a link for you to view the photos and also his biography of recognitions and accomplishments.

Film Academy of Arts Center
Pickford Center in front of El Floridita.

By: Eduardo Guilarte & Karina Garcia

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.