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NORA SUZUKI

32 Years After Her Debut In Salsa

She broke paradigms in Latin and Asian music in the late ‘80s. She founded the most famous Salsa orchestra in Japan (La Orquesta De La Luz). She paved the way for new generations of artists. She is an institution of Afro-Caribbean music in oriental culture. A leading woman, dreamer, charismatic, and enthusiastic… This is how Nora Suzuki presents her story.

This famous artist originally from Nakano-ku (Tokyo) did not always want to be a singer, at first Nora was inclined towards professional dance taking ballet classes at three years old, however, by then this young singing promise already had an unmatched vocal talent that couldn’t go unnoticed years later.

Her aptitude for the arts comes from her family because her grandfather was a master of drums and singing, her parents, although they are not professionals, continue to be excellent singers, her cousin is a music teacher, her brother is a fan of the English band, The Beatles, and finally, her son León (named so in honor of Venezuelan Salsa singer, Oscar D’ León) loves Japanese popular music right now, nevertheless, Nora hopes that one day he will succeed her as Salsero. As you can see, music runs through the veins of this successful international singer.

In the last year of Takashima High School in Tokyo (Japan) Nora’s track record of success began to be carved out. She started in an amateur rock band as the lead vocalist and developed her interest in R&B music. She sang in the ATOM band during her undergraduate career at Nihon University art of college. By then, the band had a percussionist (ex-leader of the Orquesta De La Luz) who loved Salsa and suggested to Suzuki that she study that Latin musical genre.

Nora Suzuki signing autographs — “Gracias Salseros” was released on the music market on August 20, 2019

“When I was 21, I visited New York for sightseeing and watched Oscar D’ Leon’s live at the Salsa Club. I was very impressed at that time and fell in love with Salsa. After that, a Salsa band called Orquesta del Sol was playing live in Tokyo, so I went to see that band. I was impressed that even Japanese people can play Salsa, so I decided to form La Orquesta De La Luz”. Nora explained in detail the idea that came up to create this famous Japanese Salsa Orchestra in 1984 and already graduated from university for that year.

For Suzuki, currently based in Tokyo, the last year (2020) was a year of changes: most of her concerts were postponed or canceled due to the Covid-19 pandemic, but they were still able to perform live, and after the summer, they made several performances in their home city and other adjacent regions.

In the near future, the concert tour of Nora and La Orquesta de la Luz in America and Europe is a fact, as well as the fusion of modern elements such as Reggaeton inside Salsa in their new record productions.

HER PATH THROUGH SPANISH

Nora outdoors — “I have never felt discriminated while touring Latin America. I think it’s great!” Nora

For Nora, not everything was easy when she began her career in Latin music. At first, it was difficult for her to speak Spanish due to the pronunciation of the consonants “R” and “L”. Since there isn’t distinction in the phonetics of both letters in the Japanese language, however, this successful singer never occurred to sing Salsa in another language. “I tried very hard to pronounce it right… Now I have original Salsa song with Japanese lyrics”. The artist commented.

This charismatic singer-songwriter on her path through Spanish first caught the sounds in the katakana alphabet. Then, she studied Spanish grammar in courses broadcast on television and radio.

The lyrics of her songs are composed by her using words she knows, reading dictionaries, and example sentences carefully. Once the lyrics are made, they are reviewed by one of her friends of Latin descent.

Now I can understand Spanish a lot. If you speak slowly, I can understand the rough meaning”.

NORA SUZUKI & LA ORQUESTA DE LA LUZ

This prestigious artist, who has captivated millions of people with her talent on three continents, was always persevering and disciplined. She formed La Orquesta De La Luz in the early ‘80s and later made a demo for their international performance. Three years later, with her savings, Nora toured three countries on the American continent: Panama, Puerto Rico, and New York.

Panama was the first country that set foot in search of being heard by Latinos. “I was very excited because I was able to appear on the radio and TV show, and the audience was very excited about my singing”. Nora commented.

Then she visited Puerto Rico and New York. Nora adds: “At first, I went to see Ralph Mercado, but unfortunately he didn’t listen to the demo tape. I was very depressed but didn’t want to give up, so I next met Richie Bonilla, and he was able to listen to the tape and could believe my story”.

Orquesta de la Luz in concert — “Some members understand Spanish a little, but most of them don’t speak it”. Nora Suzuki

After overcoming some obstacles, in 1989, they debuted as a world-famous Salsa band with their first concert tour in New York, thanks to the promotion of Bonilla, who currently continues to be her manager and the orchestra.

Eight years of resounding success on three continents and especially in Japan made each member of the band so popular that by 1997 it was impossible to match the schedule of each member, which caused the inevitable and regrettable breakup.

Five years later, specifically on January 16, 2002, Nora organized the World Peace Music Festival benefit concert due to the 911 incident in New York and return for the immense affection and support of Latinos in the United States. This concert was the catalyst for the reunion of La Orquesta de la Luz and by the beginning of 2021, the band has 23 countries already visited.

Recently, this famous star awarded the United Nations Peace Medal in 1993, together with the Orchestra, released the album “Gracias Salseros” in commemoration of their more than 30th anniversary. (This CD can be downloaded and listened to through the different digital platforms).

In the last 10 years, La Orquesta de la Luz has toured Japan twice and has participated in consecutive years in the Billboard Live in Tokyo and Osaka. You can also see them perform at local festivals, children’s schools, and through their official Facebook page with their live-streamed rehearsal videos that have a total of 9 000 000 views.

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Hicham Billouch and his Nour Marruecos Orchestra “Arabic music”

“Music for me is like oxygen, I cannot live without it and I will never forsake my passion “.

Hicham Billouch, Moroccan musician, seeks to explore new musical avenues and possibilities.

Billouch studied music at the Royal Conservatory in Marrakech and graduated as a pianist. He also plays the violin, the lute, the guitar and the sintir.

When he was a teenager, he started working in cabarets in Marrakech like Hotel Sahara Inn, Rotana, VIP Club and Hotel Le Semiramis in Casablanca.

In Morocco, he played along with singers like Ahmed Adawiyya from Egypt, Fares Karam from Lebanon, Mohamed Reda, Pinhas, and Badr Sultan from Morocco.

He also participated at the Mawazin Festival organized by the Government of Morocco and worked in the organization of musical events such as Green March Day.

"Music for me is like oxygen, I can't live without it and I will never give up my passion." — Hicham Billouch and his Orchestra Nour Morocco
Arabic Music

In France, he played with Maqam al Ushaq, which is a Moorish music group, at the Mediterranean Music Festival in Corsica and the International University Music Festival in Belfort Ville, France.

In Mexico he created Nour Marruecos, an Arabic music ensemble, with local musicians. Nour Marruecos has participated in international festivals such as Lerdantino (Durango), Festiva Toluca and Calimaya (Mexico State) and the Córdoba International Book Fair (Veracruz). He also played in the Lebanese Restaurant Adonis in Polanco. Mexico City.

In Mexico City, he organized a belly dance competition and also published a book with the Spanish translation of 40 Arabic songs.

Her record production includes 3 CDs: Salam, Qamar and Kalimat, with covers of Arab songs and her own compositions.

After moving to Mexico City, Maestro Hicham Billouch established the Arabic music ensemble Nour Marruecos with local musicians.

Gnawa music to be inscribed in 2019 on UNESCO's Representative List of the Intangible Heritage of Humanity — Nour Morocco Orchestra Arabic music

The Orchestra

Nour Marruecos has participated in international festivals such as Lerdantino (Durango), Festiva Toluca and Calimaya (State of Mexico), the Córdoba International Book Fair (Veracruz) and the Arab Week organized by the Centro de Investigación y Docencia Económicas of México.

The ensemble has also represented Morocco in various cultural and official events organized by the Embassy of Morocco and in private events of the Arab, Lebanese and Jewish communities.

Fusion

Gnawa music, inscribed on the UNESCO Representative List of Intangible Heritage of Humanity in 2019, is one of the most versatile, because its scales and rhythms have their roots in sub-Saharan Africa, so theyr are compatible with the pentatonic scales of blues and jazz.

That is why Hicham Billouch has merged the traditional instruments of Gnawa music such as the guembri, the outar and the qraqeb, with instruments from India such as the sitar, the tabla and with electronic music.

Arabic instruments

Arabic music has a long history of interaction with many musical styles in the world. Arabs people translated and evolved Greek texts and mastered musical theories.

In the pre-Islamic period, Arabic music consisted of singing poetry. As for the musical instruments, they were used in a manner that may accompany and savour the meaning of poetry.

Arabic instruments can be classified into three main types: string instruments, wind instruments and percussion instruments.

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Raymundo “Ray” Barretto Pagan was born in Brooklyn, New York on April 29, 1929.

Ray Barretto, Giant Force

Son of Ramón Barretto and Dolores Pagán, born in Aguadilla, Puerto Rico; he belongs to the generation of Puerto Ricans who grew up in New York and are known as “neoyoricans”: children of Puerto Ricans who did not know the Island.

His father leaves home and returns to Puerto Rico when Ray is barely six years old, leaving his mother, Doña Lola, alone to raise her children Ray, Ricardo and Cecilia. His childhood and part of his youth were spent between the streets of Spanish Harlem and the Bronx, listening to Latin music in the morning and jazz at night.

“My mother fought hard to keep us away from drugs and crime. She rented a room in the apartment to feed us. And as I recall, popular music was an escape for her from the reality of poverty and strengthened her spirit to keep fighting,” Ray recalled.

In 1946, at the age of 17, he enlisted in the army and was sent to Europe, where he curiously began his career as a jazz percussionist, performing officially at the Orlando Club GI, in Munich, Germany, in one of those jam sessions, a point of discovery for many great figures of music.

Regarding his performance in Germany, Ray comments: “That was an inspiration of the moment! There was an old banjo with old strings, I had listened to Chano Pozo through his records with Dizzy Gillespie, and I had that desire to play, to imitate Chano.

I took the banjo, went up on the stage and started to play by hitting the snare drum. Miracle the musicians didn’t throw me off the stage! But then they told me: ‘you have talent, you must go on and try to improve yourself’.

So when I returned to the United States, I bought my first drum and started looking for any place with live music to improve my technique by listening and watching how the musicians played, not on record, but live”.

Bella Martinez “La Escritora Irreverente de la Salsa” (Virginia, USA) is pleased and privileged to provide International Salsa Magazine with a worldwide release of her most recent publication and English translation of the book Ray Barretto, Giant Force.

Raymundo "Ray" Barretto Pagan was born in Brooklyn, New York on April 29, 1929. — Ray Barretto, Giant Force

The availability in English of this work, assists in the diffusion of Latin culture within the English speaking public. This was made possible thanks to the rigorous research and literary skill of Colombian author Robert Tellez, as well as the linguistic precision of Puerto Rican translator Ronald Vazquez.

This year, 2021, marks fifteen years since Ray Barretto left the earthly congas and five years since Colombian journalist Téllez Moreno released Ray Barretto, Giant Force.

On April 29th of this year, on the occasion of Barretto’s 93rd birthday, the Colombian author presented the translation of the aforementioned work, published in collaboration with Be More by Bella Martínez.

Like the work originally written by Téllez Moreno in Spanish and published by some publishers in 2016, this English version by the Puerto Rican translator gathers in a chronological and rigorous way the musical work of the also known as “Manos Duras”.

The book highlights Barretto’s beginnings in jazz and his influential career in salsa, collecting 11 Grammy nominations.

Ronald masterfully translates into simple, readable English the same journalistic narrative that Téllez constructed using testimonies gathered from those closest to Barretto.

After Barretto’s death in February 2006, Annette “Brandy” Rivera and the friend of the musician who is the subject of the book, George Rivera, shared with the author their memories of various moments in Barretto’s career.

Ray Barretto, Giant Force, was a virtual activity that was transmitted from Casa Norberto in Plaza Las Americas.

The presentation was moderated by journalist and writer Jaime Torres Torres, the independent editor in charge of the translation project, Bella Martínez, translator Ronald Vázquez, music professor and researcher Elmer González, author of the prologue to Ray Barretto, Giant Force, and the author of the book, Robert Téllez.

Research Sources by:

Bella Martinez

Andrés Campo Uribe “Contributor to Herencia Latina”.

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Let’s meet the Pharaoh of Salsa, who is he? Oscar D ‘Leon .

Biography of Oscar D ‘Leon

Óscar Emilio León Simosa, was born in the populous Antimano parish in Caracas -Venezuela, on July 11, 1943, known in the artistic world Óscar d ‘León, son of Carmen Dionisia Simoza and Florentino Padrón. However, he did not recognize him at the time of birth, so the marriage of Carmen Simoza and Justo León decided to take care of the child.

From an early age, little Oscar enjoyed the popular parties that were held in Antímano and listened to the music of great orchestras such as La Sonora Matancera, the Billo’s Caracas Boys Orchestra, the Matamoros Trio, and two of his greatest musical inspirations, Celia Cruz. and Benny Moré.

He began his musical career relatively late, at 28 years of age, after having carried out two jobs totally unrelated to music, such as taxi driver and mechanic; He was educated academically as a surveyor, but never practiced that profession.

Oscar learned to play bass empirically, his innate talent for music was so extraordinary that it allowed him to earn a position in one of the orchestras that played in a renowned nightclub in the city of Caracas. There Oscar also did the choirs, but he did not interpret any song as a soloist.

His life changed when the lead singer of the orchestra was absent from one of the presentations and Oscar proposed to fill that vacancy and he did it in a great way, so much so that he received the approval of all those present.

In 1972, the owner of “La Distinción” told him that he would dispense with his services, since he would require an orchestra of higher quality and experience. Oscar offered his group to the owner of the premises, although he did not have it. It was here that D ’León went, together with the trombonist César Monges, from door to door looking for some musicians with whom he considered he could put together a group with which the venue could get out of trouble. It is there where they meet the percussionists Elio Pacheco and José Rodríguez, the trombonist José Antonio Rojas (Rojita) and the pianist Enrique “Culebra” Iriarte (who would later be replaced by Jesús Narváez). At this moment the project to create the Latin Dimension is accelerating.

They premiered on March 15, 1972, in a rehearsal at the home of “Culebra” Iriarte in La Guaira and debuted in “La Distinción”. In that same 1972 the orchestra recorded their first full-length album and obtained their first hit, the song “Pensando en ti”. This first success led them to be hired to participate in the Maracaibo carnival festivities. We must emphasize that Víctor Mendoza was the one who suggested using his stage name as “Oscar D´León”. There were many songs that Oscar hit with the Latin Dimension, “Llorarás”, “Taboga”, “El Frutero”, “Mi Tierra”, among many more.

In 1976, at the highest point of popularity, Oscar D’León confronted differences with the rest of the members of the group, for which he separated from the Latin Dimension and formed his own orchestra; “La Salsa Mayor” recording his first LP titled “Con Bajo y Todo”.

After some legal problems that momentarily led him to remain briefly detained and deprived of liberty and to be questioned in the media, he decided to change his image and presence, dispensing with the qualifier “El Diablo de la salsa” that had been given to him in Panama.

In 1986 he relapsed into acting, this time in the Venezuelan film “Hell is sure.” Later, he began his international leap, taking his music to countries such as Japan and to stages such as Madison Square Garden in New York, the Poliedro de Caracas and the Teresa Carreño Theater. At this stage, he alternates and records with those who had been his youth idols: Celia Cruz, Eddie Palmieri and Tito Puente.

He also presented himself as the companion for singers of the new salsa generation who was part, like him, of the label belonging to Ralph Mercado “RMM”: La India with whom he would record the song “Hazme el amor” or José Alberto “El Canario” with who would record “The flavor arrived.”

Oscar D' Leon Photo — Oscar D ‘Leon smiling for the photo

Oscar D´León has received numerous awards and honors. In 1996, with the album “Sonero del Mundo” in collaboration with the Cuban musician Willy Chirino makes him obtain the nomination for the Grammy.

On March 15, 1998, the city of New York honored him by naming that date as Oscar D’León Day.

On December 20, 2009, he was admitted to the Intensive Care Unit of a Caracas clinic after suffering a heart attack in Martinique, from which he recovered after undergoing catheterization.

On November 21, 2013 he received the Latin Grammy Award for Excellence for his musical career, thus recognizing the impact of his performance in the world, also that same year he would receive the Grammy Award.

Today, Oscar continues to delight us with his wonderful musical talent …

Anacaona Areito de Anacaona ‘Golden Flower’

Anacaona was the last princess of the Caribbean and protector of the Taino people.

“Anacaona, areito de Anacaona”, sang Cheo Feliciano before a heated crowd at the Cheetah club in New York late on 26 August 26, 1971.

It has been more than 50 years have passed and the chorus from the pen of Tite Curet Alonso resounds as if it were yesterday. But who was Anacaona?

Anacaona or Anakaona. (1474-1503)1 was an aboriginal Taino chieftain of Bohío Island. She governed the Cacicazgo of Jaragua after the death of her brother Bohechío. She was condemned to be hanged by Governor Nicolás de Ovando.

Anacaona means ‘Golden Flower’ in the Taino language. She was a Haitian princess of Taino origin who was born in the year 1474 at Bohío, as it was dubbed by its inhabitants and then divided into two Caribbean countries: the Dominican Republic and Haiti.

Anacaona was the last princess of the Caribbean and protector of the Taino people. — Anacaona Areito de Anacaona

After the death of her brother Bohechío, Anacaona would take over as cacique to rule the Chiefdom of Jaragua. She had a natural talent for poems, which she sang in the areitos, dances, and songs with which the Taino Indians celebrated their festivities and religious rites.

Anacaona received Christopher Columbus on his first voyage at Christmas 1492. She felt admiration for the new knowledge and skills of these people to solve day-to-day challenges.

Those led by Columbus established a settlement in the new territory, which they called Christmas Town. It is said that this was the first building of the Spaniards in America.

But harmony would not last for long. The abuse on the natives began, especially women who were mistreated and raped without hesitation.

Anacaona would not accept the oppressive tyranny and persuaded Caonabo, her husband, to destroy the settlement where the invaders were based.

Anacaona in the Taino language means 'Golden Flower'. She was a Haitian princess of Taino race who was born in the year 1474 on Bohío Island, as its first inhabitants baptized it and which would later be divided into two Caribbean countries: the Dominican Republic and Haiti. — Anacaona was the last princess of the Caribbean and protector of the Taino people.

Christopher Columbus left the territory and, upon return in November 1493, he found Christmas Town destroyed and its more than 43 men killed. It was an affront. Anacaona escaped and became an Indian of a captive race, as the song goes. But her freedom would not last long. After an intense search, she was captured and bound to hang in 1504.

The Tite Curet Alonso’s ‘Anacaona’

Tite Curet Alonso composed ‘Anacaona’ without knowing who she was. The song written from one day to the next would be included in the album “Cheo” (1971) of Vaya Records. The label sought to re-launch Feliciano’s musical career, who had stayed away from the stage as a result of the rehabilitation for his drug addiction.

In an interview posted on Youtube, Tite says that he was inspired by a Lecuona Cuban Boys orchestra’s song (recorded in the 1930s) and baptized it with that name in honor of the Cuban girl group Anacaona.

After the death of her brother Bohechío, Anacaona took over as caciqueca, governing the Cacicazgo de Jaragua. She had a natural talent for poetry, which she sang in the areitos, dances and songs with which the Taino Indians celebrated their festivities and religious rites. — Anacaona or Anakaona. (1474-1503) was an aboriginal Taino chieftain of Bohío Island.

He says he tried to “make up a mystical story” about Spanish and Indian slaves. When composing, Curet did not know he was telling the true story of the Haitian princess who fought against the Spaniards in the early years of the discovery of America.

After the release of the album was released, which was well received by the public, Curet visited a priestess who knew the life of Anacaona and had heard the song in the voice of Cheo Feliciano. After knowing the story, Tite was greatly impressed.

The woman informed the composer that it was the Taíno ancestors who inspired his pen in each verse.

“But how is it possible that you wrote that song? Now you have to make a song for Caonabo and I will tell you why: because from a certain generation upwards, you are a descendant of Caonabo and Anacaona”, said the priestess.

It did not take long for Tire Curet to publish his tribute to ‘Caonabo’, the Indian fighter who, like his wife Anacaona, fought against Spanish oppression. The song was included in his production as a singer-songwriter entitled “Aquí estoy con un poco de algo” (1975).

The Cheetah concert on August 26, 1971, gave rise to the salsa boom and allowed several young talents to make history. Moreover, it opened the way for composers like Tire Curet Alonso, who with songs like ‘Anacaona’, created the soundtrack of Latin American soul.

Images courtesy of Museo Taino Anacaona

https://www.museoanacaona.com/

Dominican Republic