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Search Results for: dance

The unfortunate closure of Salsa Power and its great legacy

What Salsa Power did

Logotype of Salsa Power
Logo of the Salsa Power web page

There have been many groups and personalities that, despite the low level of resources they had, have made efforts to promote Latin music, especially salsa. The case to be treated today is that of a website with a great deal of contributors and much fame that came to be regarded as one of the most important internet sites for the promotion of our culture in the field of music. We talk about Salsa Power and its titanic work in favor of our cause. 

The important page dedicated to the promotion of salsa and founded in 1999 had approximately 300 local correspondents in more than 50 countries around the world, indicating the immense number of individuals who wanted to get involved in the promotion of Latin culture to rise to unexpected levels. Its co-founders, Jacira Castro and Julian Mejia were the ones who started this great initiative, which they tried to maintain through an enormous effort. However, this was not enough to avoid its definitive closure in 2021. 

Jacira Castro, founder and director of Salsa Power

Closure of Salsa Power and what has produced it 

In a statement that can still be read on its official link https://www.salsapower.com/ both in Spanish and English, Castro explains the unfortunate reasons for making the difficult decision to close the web portal. At the beginning of the short text, the also salsa instructor and web designer explains how Salsa Power started and what made it become one of the biggest salsa initiatives that could be found around the internet, whose heyday may be reflected in the large number of contributors they had in some 61 countries. 

A very important detail that the dance teacher relates in her text is that she also worked as a volunteer and never received money or advertising of any kind in exchange for doing what she was so passionate about. She highlights that she always paid all her hosting and development costs without receiving collaboration of any kind.   

She goes on to explain that time goes by and, after 22 years of the founding of Salsa Power, many correspondents made their lives, left the cities from which they reported its activities and devoted to things that had nothing to do with salsa. It was reported that this was the primary reason why they made such a drastic decision. 

Jacira next to Johnny Pacheco
Jacira Castro and Johnny Pacheco

However, Castro concludes her statement with a message of hope in which she claims she will never cease to dance, showing that the aforementioned genre remains her greatest passion and nothing and nobody will change her mind. She finished saying that she can still be found on the dance floor in Lisbon, Portugal,  where she now resides permanently. 

Even today, there are many interviews collected by various other online media that can still be read, reviews and opinion pieces that reflect the extensive knowledge and enthusiasm that the writers had for their work. There is an endless amount of material that bears evidence to many years of hard work and dedication that we know all of this will not be in vain. 

From International Salsa Magazine, we send cheers and our best wishes to each and every single one of the correspondents and workers who did their best to make Salsa Power an obligatory reference for anyone who wanted to know the latest news of Latin music. 

Talented Nicaraguan Ernesto Tito Garcia and his amazing artistic career

His life and career

Ernesto Tito Garcia is a Nicaraguan bandleader and timbalero who has been part of many musical groups that passed from romantic salsa to mambo and many other Latin genres.   

This astonishingly gifted artist has been playing professionally since the year 1971. A few years later, he formed his first orchestra called Ritmo 74, which was in charge of opening up for the biggest names in Latin music from back in the day. Both Ernesto and his fellow musicians were noted for their ages and the musical styles they used at the time. 

He experimented with Latin rock during his youth until he heard salsa for the first time and wanted to devote himself fully to that musical genre. After spending a long time playing romantic music, he decided to experiment with hard salsa and added his own style to the rhythms played by La Orquesta Internacional. 

Ernesto Tito García
Talented Nicaraguan Ernesto Tito García

Our conversation

We are very happy to get him in International Salsa Magazine today ready to go and talk a little about his life and musical career. 

My father signed me up for music lessons. I did not like them very much, but they kept me busy and interested me. Thanks to those lessons I took once a week, my ear opened wide and I learned to read music, which is a very rare thing for a timbalero. In 1969, I was 13 years old and my dad was paying for weekly accordion lessons and when Santana came out in my eighth grade, I heard my first timpani and knew it would be my instrument. That’s when I told my dad not to spend money because I wanted to play the timpani. He was a good man who died in my arms because of the same cancer I have today. 

On Broadway Street, San Francisco was where I began to learn how to play the timpani. My dad helped me buy my first timpani and I found a group that played Latin rock just like Santana, which gave me the opportunity to develop my technique. When I was in San Francisco, I did not hear much of salsa because it was more present in New York City, but my dad bought some records recommended by a friend containing the last of salsa. That was the first time I heard salsa and I was playing Latin rock with the group I already mentioned. When I heard that music, I met a girl who was interested in buying an electric piano that belonged to my girlfriend’s brother who was 15 years old at the time. From there, we formed our first orchestra in 1974, which we called Ritmo 74. When the music outside like Eddie Palmieri or Tito Puente came, people over 40 years old also came, but young people did not like it because the music was very regimented and had many pitoretas (wind musical instrument, also known as clarion). 

Tito on the beach
Ernesto Tito García on the beach

About the time Willie Colón came out was when the orchestra started getting big because we were the young people of salsa. I was 16 or 17 years old, while the oldest member was 26 or 27 years old. We had agents who gave us the opportunity to open up for the biggest names in New York like Eddie Palmieri and Willie Colón. At that time, we were the only orchestra of our generation with that kind of playing. We were growing up, but the thing is that I liked education and for whatever reason, I found that I made good grades.   

As our fame grew here in the Bay Area, I had to devote much time to rehearsals, learn new songs, among other things. That’s why my grades started to fall and I was about to graduate from high school. The last two years were the most important ones at school, so I realized I would not be able to do both at the same time. So I decided to quit music and knew the only way in which I could do it was to sell my timpani, so I went to a store and they gave me $60 for them. 

I got my grades up, was admitted by San Francisco State University and the first year was amazing, but I met other Latino students who also played music. They began renting a room right there on campus to rehearse, so I did not have to go somewhere else. It was there that we founded La Orquesta Salsa Caliente and as soon as we got to be known, people liked us. About two or three years later, my grades started to fall again, so I quit music again. I graduated from College and was admitted to the school of optometry in 1985 or 1986. Thanks to that diploma I started working with a very skilled Salvadoran doctor. He was a surgeon and ophthalmologist. When I formed my own orchestra, I had two very simple rules for the members. The first was that when we played, we could not take any kind of drugs or alcohol, while the second was that we had to always wear a suit and a tie, that’s what no other youth orchestra did.   

This is Mike Rios
Tito García and Mike Ríos, who designed the album covers for Santana

Do you think that the style of mambo that your orchestra plays is what makes it unique or are there other elements that stand out? 

First of all, when I formed the orchestra, romantic salsa was in vogue just like its exponents included Eddie Santiago, Tony Vega and many more. The problem was that the music was boring because the arrangements were very simple. In 1996 or 1997 was when I heard Tito Puente with his orchestra playing mambo and that is what gave me the idea to do the same with four or five pitoretas. That’s when I lost several musicians and singers because they wanted to sing romantic salsa, but I was tired of that. 

So, we started playing what I called hard salsa, which had mambo arrangements and singers who knew how to perform it. That combination pushed us on a new level. Those who wanted to sing romantic salsa formed their own orchestra. Julio Bravo was one of my favorite artists and I helped him with some musicians. There was also my comadre Denis Corrales, who formed her women’s orchestra. The orchestra looked very good with all the girls, but it was not what dancers were looking for. There is also the case of Venezuelan Eduardo Herrera whose voice was incredible and he also grew up with salsa music, but he did not know how to sing hard salsa. 

Tito García and Tito Puente
Tito Puente and Tito García

Do you think having musicians from so many different countries has to do with the final product you present to the public?  

This did not have a lot of influence on our music. Back then, our orchestra was called Salsa Dulce. When my agent retired, I got stuck with the orchestra. He wanted the orchestra to have my name in its title but did not want it to be too obvious, for example, Los Titanes de La Salsa Con Tito García or El Gran Combo Con Rafael Ithier. Regarding nationalities, the singer was Venezuelan, the bass player was French, the pianist was Peruvian, the conguero was Puerto Rican, the saxophonist was Irish and the trombonist was American as was the trumpet player. It was the reason why my agent suggested me to call it Tito García Y Su Orquesta La Internacional. I liked how it sounded so much that I called the group that.  

What are your future projects? 

I can mention an album dedicated to Tito Puente and am going to record it between San Francisco and Nicaragua. The problem is that his family has the rights to all his music and I do not know if they give me permission to do it. I hope they are not going to charge me a lot for those rights. Of course, we are going to make money with the project, but costs are much more comfortable and negotiable in Nicaragua. That is one of the reasons why I want to do it there.  

Timpani of Tito garcía
Tito García’s timpani

Edwin “El Calvito” Reyes el Sonero de la Sangre Nueva “Amor de Actualidad”

“El Sonero de la Sangre Nueva”

For International Salsa Magazine by the hand of www.SalsaGoogle.com is pleased to present again a singer of the new generation that is growing by leaps and bounds creating his own style and leaving footprints in the music industry in these new times of many difficulties that we all know and have learned to cope with hard work, we refer to Edwin “El Calvito” Reyes better known as “El Sonero de la Sangre Nueva”.

Undoubtedly, today, considered by legends and colleagues of the salsa genre, as one of the fastest-growing exponents, projecting and establishing his brand, steadily and worldwide; Winner of the 2019 Paoli Award, as Tropical Revelation of the Year, he is Edwin “El Calvito” Reyes.

Born on April 19, 1974, he had his childhood in a humble 20-foot square wooden house and graduated as an Electrician from the Vocational High School in his beloved Trujillo Alto in May 1992. He then graduated with a degree in Tele-Communication from Sacred Heart University in P.R. This 2020, “El Calvito” is scheduled to finish his Master of Science, with a major in Entertainment Business, at Full Sail University in Orlando, FL. (Entertainment Business, Master of Science).

Today, the collaboration between emerging artists has made a change in the salsa world, worldwide. An extremely positive and general change, where radio broadcasters, DJs. have made their modifications, to be up to date, creating a much-needed balance in Salsa, which is still dominated by the classic.

However, the salsero listener also asks for songs to learn and make them his own. For that and more, we bring you this new collaboration.

“Amor de Actualidad”.
“Amor de Actualidad”.

A song for the listener, and with “swing” for the dancer. In short, daring.

Our friend, Edwin “El Calvito” Reyes & Lluvia y Sus Soneros

(One of the most emblematic and colorful salsa singers in Colombia) join forces to delight us with a fresh and daring song; a fusion of lilting rhythms, loved around the world;

La Cumbia and La Salsa, in the form of the song “Amor de Actualidad”.

AMOR DE ACTUALIDAD, written by the sensational composer Edgardo Irizarry, in conjunction with the Chilean, based in Medellin, Robert Requena, who also served as the arranger of this, joining the voices of these exponents of modern salsa and fusing the rhythms of Cumbia and Salsa, for this song.

AMOR DE ACTUALIDAD, is about a virtual love between two people who have never seen each other in person, but live their romance through social networks.

AMOR DE ACTUALIDAD unites two voices from different countries, two salseros with a high desire to succeed, and above all respect for the genre and its pioneers.

What’s left? Well, YOUR SUPPORT and DIFFUSION.

Let’s hope you like it.

lluvia Y Sus Soneros Ft Edwin El Calvito Reyes Amor De Actualidad
Lluvia Y Sus Soneros Ft Edwin El Calvito Reyes Amor De Actualidad

For Contracting Edwin “El Calvito” Reyes:

CON CLASE RECORDS

Office: WhatsApp: +1-912-980-8476

E-mail: [email protected]

Bio: www.ElCalvitoReyes.com/Biografia

Follow him on Youtube: https://www.youtube.com/c/EDWINELCALVITOREYES  

For Booking Lluvia y Sus Soneros:

Office: WhatsApp: +57 312 2165743

E-mail: [email protected]

Follow her on Youtube: https://www.youtube.com/channel/UC9QsgPGETMBW0BarPecY58w/featured

May God watch over you all, and may health be your best ally in these difficult times.

We literally admire your work and dedication to salsa.

Respectfully yours,

Edwin “El Calvito” Reyes & Lluvia y Sus Soneros

Note: Track has been sent in MP3 from the offices of Con Clase Entertainment. If anyone would like the track in WAV, please contact [email protected] or [email protected] and request it directly.

Dj. Elvis Abello “El de la Salsa Dura en Caracas”

Since 2021, he has been vice-president of the Olimpiada Salsera Internacional de Venezuela Foundation.

He was born on July 3, 1982, in the city of Caracas, with only eight years old, and led by the hand of his father Carlos Abello, his uncles, Hector Diaz, Jhon Abello, Ali Abello, would discover his love for salsa, surrounded by acetates, parties, and stereo.

At the beginning of the 89’s, at his grandmother Crucita’s house, the whole family and friends would gather to share and dance a good salsa, his father would place a plastic box so that it could reach the turntables since at that time his father used vinyl.

Elvis, feeling attracted by the rhythm, already knew some singers, looked for the songs and musicalized those parties, being this way his debut in the world of salsa.

He was born on July 3, 1982, in the city of Caracas, with only eight years of age, and led by his father Carlos Abello, his uncles, Hector Diaz, Jhon Abello, Ali Abello, he would discover his love for salsa, surrounded by acetates, parties and music equipment.
Elvis Alberto Abello Guerrero (El de la Salsa Dura)

In 1996, as a teenager, he began his foray into the music scene in the company of his friend and compadre Jesus Manuel Diaz Mendez, the product of brotherhood and the interest that united them mutually for salsa decided to venture into the world DJ, formed a mini-teque called “Eskpe Display”, They formed a miniteca called “Eskpe Display”, making it known in several popular areas of the capital, especially in the “Paramoconi Park” located in San Bernardino, Caracas, where the popular matinees were held, with a mixed audience from the west of the city, this project would give them the recognition of the dancers and salsa fans in several parishes of Caracas, for several years.

ELVIS, dedicated several years of his life influenced by his family, in this case by his cousins; Ivan Guerrero and Julio Fernandez, to collect discography of his favorite artists, such as: Gilberto Santa Rosa, Ruben Blades, Lalo Rodriguez, Alex de Castro, Tito Allen, Luis Enrique, Hildemaro, Rey Ruiz, Roberto Roena, Cano Estremera, Domingo Quiñonez, Luisito Quintero, Orlando Poleo,Kenny Cruz, Pimi Cruz, Rafael de Jesus, Paquito Guzman, Tito Nieves, Celia Cruz, Oscar de León, Alfredo Naranjo, Marcial Isturiz, Pupy Santiago, Carlos de Castro, Yomar Caballo Mendez, Adalberto Santiago, Jhonny Colón, The Lebron Brothers, Natividad Martínez, Tommy Olivencia, Pete Conde, Sonora Ponceña, Orqueta Tokun, Orqueta O. S, Orqueta Pumaband, Orqueta Mulenze, Wichy Camacho, Pedro Brull, Dimensión Latino, among others. He was a faithful dancer at La Asunción, City Day, Rumbero, Status, Extremo Latino and a fan of the events organized by Betty Zapata together with Juan Carlos Ríos, such as La Noche del Bronx, Orquesta de Willie Rosario, Charanga 90, La Negramenta, Bobby Valentín, among others, always getting infected and betting on the salsa scene.

Thank you for being part of this project ? In this link you will find all the information: https://bailopinto.com/esta-salsa-me-gusta-dj-edition/ Guest Dj @elvisaag Best regards! Saul Delhom @bailopinto
Dj. Elvis Abello “Esta salsa me gusta – DJ’s Edition”.

During the stage of the beginning of the pandemic, a new boom was born for live broadcasts on Instagram Live and Facebook Live, being this an opportunity for Elvis Abello (El de la Salsa Dura) to work as a musicalize in the events of Salsa Dura, known in Venezuela as salsa guateque.

Hand in hand with great DJs such as; Manolo Mariño, Luis Flores, Ruben Arias, Jeferson Parra, Jesus Manuel Diaz, Dervy Palace, Zulay Millan, Susana Calderin, Augusto Felibertt, Edward Alberto, Francisco The Dj Latino, Alan Marriaga, Jaime Guanipa, Rey Salsamania, Edgar Mendoza, Carlos El Latino, Alfredo Lozada, Sol Graffe, Franklin Espinoza, Jheison Parra, Chachito Blanco, Junior Oriak, Kituku Sanchez, Roberth Hidalgo, Nery Jones, David Ferrer, Jesus Jaspe, Felix Valderrama, Andres Hernandez, Cesar Sonero, Jordan Moreno, each one of them, gives their best on stage so that the Salsera nights in Venezuela are of excellent quality.

Since the year 2021, he is vice president of the Olimpiada Salsera Internacional de Venezuela Foundation, this foundation works to project the different DJs and Musicalizadores existing in the whole world, through digital platforms, such is the case of Instagram and Facebook, in the same way the foundation delivers donations in order to help those most in need.

Since October 26th of this year, Saul Delhom and bailopinto.com publishing house, has invited Elvis Abello and several DJs to participate in the digital project called, “Esta Salsa me Gusta- DJ^s Edition”. The book contains a selection of songs associated with tastes, stories, and anecdotes told by each of the interviewees. It is worth mentioning and taking advantage of the essence of this book that talks about the melody as an anchor in certain moments of life; Elvis recalls moments lived with his daughter Madeleine Abello with the song “Al Pasar Los Años” by the Mulenze Orchestra, and his son Samuel Abello, with the song “Y Vuelvo a Fallar” by the same orchestra.

DJ Elvis Abello, for his professionalism, creativity, and charisma, has led him to be recognized as “El De la Salsa Dura”, in various clubs and discotheques in the capital.  At the present time, Resident DJ of Café Latino, in the city of Caracas and Director of EA Productions; taking the best Salsa events throughout Venezuela.

Facebook: Dj. Elvis Abello

Article of Interest: Saúl Delhom “Esta Salsa me gusta” one of the things I like the most is to learn, create and share

Louie Ramirez “The Quincy Jones of Salsa” and his progressive talent a genius-in-hidden of Fania All-Stars

The most progressive arranger and innovator of New York Salsa in the 70s and 80s.

Music often requires characters who are always backstage and support with their talent the work of singers and performers, who are eventually the ones who “come forward” and assume the popularity. Sometimes, though, these anonymous characters shot to fame in order to be able to perform their own work and even become more popular than any fashion singer.

a Hidden Genius of La Fania All Stars
The most progressive arranger that Salsa had in New York.

In the case of Pop, this character is named Quincy Jones, who was said to be the arranger for Frank Sinatra and the producer for Michael Jackson. A “nonentity”. In the case of Salsa, these characters have been symbolized by the emulator of Jones, a guy named Louie Ramirez who has done everything with everyone.

An afternoon in 1994, Ramirez was driving his car on the highway that took him to Variety Studios in New York. It was going to be a quick session because he only lacked one track to complete his 20th album as a bandleader. Perhaps this is why he was nervous and full of anxiety. Minutes later, he could not resist the feeling and had to stop the car. He had not finished doing it when a heart attack ended his life.

Introducing Louie Ramirez

The fact was that Louie had the answer and visiting him was like rubbing Aladdin's lamp. That was a characteristic that always accompanied him, since that first recording "Meet Louie Ramirez" in 1963.
Introducing Louie Ramirez 1963

Louie Ramirez was a genius. The one to whom all run for advice and solutions to their problems. It did not matter if they were young or old musicians. The fact was that Louie had the answer and visiting him was like rubbing Aladdin’s lamp. That was a characteristic that always accompanied him, from the first recording “Meet Louie Ramirez” in 1963.

He was 20 years old back then and had a good record with regard to composing some pachangas and arranging for the orchestras of Pete and Tito Rodriguez. Commentator Dick Sugar introduced him like this: Ramirez breaks through the image of a bandleader who uses the talents of other composers and becomes a follower of a rhythm. No, Louie Ramirez is a creator in his genre.

Louie Ramirez Ali Baba

star of Fania Records and, at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez soon found himself in a busy schedule and was only able to record two albums during the sixties, "Good news" and "Alí Babá".
Louie Ramirez ‎ Ali Baba

That talent did not go unnoticed by the new Czar of Latin music in New York, Jerry Masucci, who hired him as a star of Fania Records and at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez was soon wrapped up in work and could only record two albums during the 1960s, “Good news” and “Alí Babá”.

The last album included the hit that allowed him to be a famous artist, El Títere, a true Salsa classic. The song was performed by Rudy Calzado, the third of the soneros Louie had used without finding the right one. It was a ballast that stayed with him as a director during the 1970s, when he used singers such as Pete Bonet, Tito Allen, Jimmy Sabater, “Azuquita” Rodríguez, Adalberto Santiago, and even Rubén Blades.

Louie Ramirez y Sus Amigos

Ramirez was considered in New York as the most progressive arranger that Salsa had.
Louie Ramírez y Sus Amigos

It was precisely Blades that he made an anthological album with, “Louie Ramirez y sus amigos”, which included the song Paula C, with an arrangement of those that deserve to be admired. By then, Ramirez was already considered as the most progressive arranger of Salsa in New York, thanks to the brilliant works done for the Fania All Stars. An excellent work had been the instrumental arrangement for Juan Pachanga, to be performed by Blades, from Canta for a performance by Cheo Feliciano, and of the entire album “Algo nuevo” performed by Tito Rodriguez with Louie’s orchestra.

Noche Caliente

But the high point of Ramirez's career came in 1980 when Joni Figueras, a representative of K-Tel International's K-Tel label, took Ramirez's career to a new level.
“Noche Caliente” and was recorded by Louie Ramirez’s own orchestra.

The peak of Ramírez’s career was in 1980 when Joni Figueras, a representative of the K-Tel International label, hired him to maka arrangements for the ballads Todo se derrumbó and Estar enamorado by Manuel Alejandro. The album, which included these and other songs, was released two years later under the title “Noche caliente” and was recorded by Louie’s orchestra.

Ballad-salsa or romantic salsa was born as a result of a work Ramírez did until his death, making occasional attempts in Latin Jazz, which he loved. That is why he recorded a tribute album to Cal Tjader in which Louie was the director, producer, composer and arranger. Apart from that, he played the timbales and his favorite instrument: the vibraphone.

Louie Ramirez was a genius of arrangements, in a career that included Guantanamera and Isadora for Celia Cruz, El Guiro de Macorina for Johnny Pacheco and El Caminante for Roberto Torres.

The Cesta All-Stars Vol. 1

Apart from that, there are his works for La Alegre and Cesta All Stars. Regarding Ramírez's profile, the critic Eleazar López defined it very well
The Cesta All-Stars
Vol. 1

Further to that, there are his works for La Alegre and the Cesta All-Stars. Regarding this Ramírez’s profile, critic Eleazar López defined it very well.

“It is not easy to arrange for a dance orchestra, especially when it is a group that cultivates the hot tropical genre. Many musicians feel influenced by Jazz and the result of their orchestrations leaves a vacuum in the dancer”.

Others arrange in a simple way, but it is so simple that they repeat and copy themselves, and the result is tired music, without any degree of creativity: music that says nothing, that leaves nothing. Louie Ramirez has found the perfect balance… that’s why he always stays relevant.

Louie Ramirez has found the perfect balance... that's why he always stays relevant
Louie Ramirez The Hidden Genius of La Fania All Stars

Article of Interest: Bobby Valentin, the King of Bass at the Fania All-Stars Machinery

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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.