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Search Results for: flute

Poncho Sanchez visited us at the Salsa Museum

Like every month, we are going to dedicate this edition to a very special name in the Latin music scene and it is about the extraordinary percussionist and conguero Poncho Sanchez, who has given us the honor of donating some of his congas and the suit he wore during the Grammy Awards to the Spaha Salsa Gallery Museum.   

In gratitude to such a generous act, we want to dedicate the following lines to his brilliant career and everything he has contributed to Latin music with his work and talent.    

Poncho playing the congas
Poncho Sánchez playing the congas live

Poncho’s beginnings in music 

Pablo Sanchez, better known as Poncho Sanchez, is currently a percussionist and salsa singer who leads a renowned Latin jazz and Cuban music band. He became such a talented artist after a long journey in the difficult and competitive music industry. 

Poncho is the son of two Mexicans from different cities who had eleven children, the musician being the youngest of them all. From a very young age, he developed an intense love for music, which led him to learn to play instruments on his own.   

Although Poncho was born in Laredo, Texas, he spent all his childhood in Los Angeles with his family. In that place, he began to have a lot of contact with American jazz, Latin jazz and soul. During his adolescent years, his musical tastes were dominated by artists such as Mongo Santamaría, James Brown, John Coltraine, Miles Davis, among many others.   

Poncho at Catalina Bar
Poncho Sánchez performing at Catalina Bar and Grill in Hollywood

When he decided he wanted to take music up professionally, he began to teach himself to play the congas, guitar, drums, timbales and flute. This is how he was preparing for what was to come in his professional life later on.   

When he reached adulthood in his twenties, he was playing in various dance clubs for a while, until finally he got Cal Tjader and his group to notice his talent and invite him to join them.   

Today, Poncho is very grateful to Cal and said that he learned a lot from him during the time he was in the group. In fact, he even recalled in an interview that he gave him some lessons just as he was a teacher and Poncho was a student. This, in order to be on par with his bandmates and be able to put on a good show to the public.   

Poncho and Tito Puente
Poncho Sánchez and Tito Puente ”The King of Timbales”

Poncho as a soloist  

In 1980, Poncho finally managed to form his own group with which he began to carry out certain projects, although he had not completely departed from Cal’s band. In fact, the conguero worked with the musical director till the end of his days in 1982.   

Just a few months later, he signed with the Concord Records label to release his first official solo album, which he titled ”Sonando”, marking the beginning of a partnership that remains intact to this day. So far, Poncho has some two dozen recordings with Concord.  

Following decades of starting his career, Poncho saw his dreams become a reality when he won a Grammy for ”Best Latin Album” in 1999 thanks to the Latin soul album he had recorded at the time. That’s when the artist finally felt that everything he had worked for in the previous years had paid off.   

As for his latest album called ”Trane’s Delight”, Poncho seeks to pay homage to the artists who have inspired him and helped him develop his own art, as he considers that these personalities have been a fundamental basis for his growth as a music professional. 

Johnny Cru ISM corresponde in New York City

Read also: The Great Pichie Pérez and his brilliant career 

“The Sun of Latin Music” the first Grammy Award for Salsa Eddie Palmieri’s historic album

It has been 49 years since “The Sun of Latin Music”, Eddie Palmieri’s historic album, which marked a fundamental milestone in the history of Latin music by becoming the first production to win a Grammy Award in the category of Best Latin Recording, awarded on February 28, 1976.

"The Sun of Latin Music" the first Grammy of Salsa Eddie Palmieri's historic album
“The Sun of Latin Music” the first Grammy of Salsa Eddie Palmieri’s historic album

Recorded in New York at Electric Lady Studios, the album was released by Coco Records on Wednesday, September 18, 1974.

The album featured vocals by Lalo Rodríguez, who was only 16 years old at the time.

It includes: ‘Nada De Ti’, ‘Deseo Salvaje’, ‘Una Rosa Española’, ‘Nunca Contigo’, ‘Un Día Bonito’, ‘Mi Cumbia’.

“The Sun of Latin Music” proved to the world that Latin music, especially Salsa, was an honorable art form and opened the doors for many other Latin artists to receive solid recognition for their talent and work.

Eddie Palmieri

The sun of Latin music

MP, 1990. MP-3109 CD

Recorded in 1975

The Sun of Latin Music was a controversial album. It was too far from the easy formula of the middle salsa boom – what César Miguel Rondón calls the “mtancerization of salsa”.

“Ahead of its time” was one of the comments; “a piece like Un día bonito, had to be mutilated” with a 6-minute piano intro just to be able to play it on the radio; a danzón (Una rosa española) with lyrics by the Beatles; a cumbia that is not very Colombian, despite the name (Mi cumbia) and the chorus that says “very Colombian…”.

Nevertheless, this album represents the strength of the spirit of salsa: the encounter between the harshness of the street and the majesty of the most sophisticated musical sound.

One of the best albums of Caribbean music ever released.

Palmieri was always in search of something new. The Sun Of Latin Music is the culmination of a phase that began with an earlier album, Sentido (1974).

This time he chose the Panamanian Vitín Paz for the trumpet solo, Barry Rogers for his trombone and an unusual tuba, which formed a kind of basso continuo, and besides Barry, José Rodrigues, who for a long time was, and despite his absence still is, his most emblematic trombonist.

Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.
Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.

Ronnie Cuber and Mario Rivera were chosen as the first saxophonists in a Palmieri orchestra.

For many it is Palmieri’s best album, the most experimental and universal. One that borders on academic music, but without forgetting the dancer.

With spices like the violin of Alfredo de la Fe, who contributes his creativity everywhere, the tuba, the penetrating power of the brass, the overwhelming percussion.

Thus, Una rosa española is a modern danzón that later becomes a montuno that revives the joyful Palmerian game with the dignified uproar of trumpets, saxophones and trombones.

A young man of only 17 years, Lalo Rodríguez, who years later would become the standard-bearer of what was called salsa erotica, was chosen as the singer. Another novelty: the timbre of his voice, with a very high register, and the way he faced the montuno, which did not correspond to his age, caused different reactions.

But the most amazing thing about this 1974 album is the 14:20-minute track Un día bonito, arranged by Barry Rogers, which would keep even the most trained dancers busy. But Palmieri wasn’t just thinking about leg sets or dance floors.

The piece begins with a long piano interlude, the same structure he used in the track Adoración from the album Sentido, which would mark a new musical phase in his career.

It was more than experimental, it had some electro-acoustic music; no one had ever had the audacity to do that on a salsa album. Palmieri made the leap, he could do it, it sounded more like Stravinsky or Milhaud than Puente or Fania.

Suddenly, back in the piece, the orchestra bursts in, harder and heavier than ever, wishing the city of Los Angeles a beautiful day and San Francisco a “warm greeting,” and it is certain that Keruack and Borrough heard the call.

First Eddie Palmieri Grammy
First Eddie Palmieri Grammy

Then Eddie Palmieri was consecrated by the intellectuals and the educated and also by the Grammy.

Eddie Palmieri

The sun of Latin music

Produced by Harvey Averne

Eddie Palmieri: piano

Lalo Rodríguez: vocals

Vitín Paz: trumpet

Virgil Jones: trumpet

Barry Rogers: trombone, tenor tuba

José Rodrigues: trombone

Ronnie Cuber: Baritone Saxophone, Flute

Mario Rivera: Baritone Saxophone, Flute

Alfredo de la Fe: Violin

Eddie Guagua Rivera: Bass

Tommy Chuckie Lopez, Jr.: Bongo

Eladio Pérez: conga

Nicky Marrero: timbales, percussion

Peter Gordon: French Horn

Tony Price: Tuba

Jimmy Sabater: Chorus

Willie Torres: Chorus

Tommy López Sr.: conga

Tracks: Nada de ti; Deseo salvaje; Una rosa española; Nunca contigo; Un día bonito; Mi cumbia

Arrangements by René Hernández and Barry Rogers

One of the most valuable pieces in the exhibition “Rhythm and Power: Salsa in New York”, which will be presented until next November at the Museum of the City of the Big Apple, is the first Grammy in the history of Latin music, awarded in 1976 to Eddie Palmieri for his album “Sun of Latin Music”.

“The Sun of Latin Music”
“The Sun of Latin Music”

Sources:

Anapapaya

Salsero Radio

D j. Augusto Felibertt

Also Read: Salsa and its detractors “Caiga quien Caiga”

Son del Monte

North America / United Stated / New York

Son del Monte, Something more than a “Charanga”

It was one of those nights of meeting with friends, those friends with whom you share the same musical preferences among other things, you know, of those gatherings where only you and your friends can spend hours discussing the best songs of Héctor Lavoe or remembering the best hits of the Fania, and in which there is no other way to end the evening than with the deities that brings the good Salsa music from a live band to close the night with a flourish.

Son del Monte
Son del Monte from New York

And so that was, when with the hours passed we came across one of these charming Latin clubs that fill the streets  and every day prevail more in the city of New York, where, of course, they offered Live Salsa. Eureka! If you allow me to say it … It was the perfect place to “Echarnos un Pie” (colloquial term that we usually give in some Latin countries when we refer to dance).

Upon entering, the characteristic sound of the band wrapped up the entire venue, no doubt, captivated us. It was the harmony of an orchestra that played the typical Cuban music: “La Charanga“, which had its maximum exposure in the 20th century. We were all enthralled or if you want to say “delighted”, it was the mixture of wind instruments with percussion instruments but especially with the string instrument that most caught our attention, the Violin.

When we asked for the name of the orchestra, they told us: “Son del Monte”. It’s the ideal name for an orchestra of 12 Latin musicians who project their virtuosity before an audience eager for Caribbean Music that bathes the senses and awakens the joy of living.

Son del Monte
Son del Monte

Son Del Monte is a band based in New York City that presents unique tunes from various artists. This orchestra was born from the musical director and timbalero, Manny Rivera whose aspiration was to create a Charanga band with a hard New York sound that paid homage to the orchestras of the 60s, 70s and 80s. “Our music is captivating for the listeners and dancers. Fans from all over the world have come to love Son Del Monte: Una Charanga Con Algo Más and our incredible musical swing”, said Manny Rivera.

This band that combines the typical sound of Cuba with the mixture of flute, violins and trombones with three singers that create a distinctive harmony of three parts, have performed in so popular Salsa venues, such as: Maryland Live Casino, the Baltimore´s Latino Festival, the boardwalk of Coney Island, SOB’s, Empire City Casino in Yonkers, Gonzalez y Gonzalez, La Marqueta, the Latina Hats Society, Industry City, Harlem Mist, among other recognized Salsa venues.

The members of this Charanga orchestra with “Sabor” and electrifying sound are: Mauricio Smith Jr. (Flute), Eric Roberto Salazar and David Rimelis (Violins), Michael Pallas, Juanga Lakunza and Charlie Garcia (Trombones), Eli Rivera (Piano), Bert Castro (Bass), Joe Gonzalez (Conga), Manuel Rivera (Timbales / Musical Director / Leader) and Luis Ayala, Armando Jiménez Sonji and Luis Soto (Singers).

Since the beginning of this year (2019), Son del Monte has been working on their record proposal for the Latin market with unpublished themes, rhythmic and unique sound – contemporary. To date they already have two singles: “Rumba Omelenko” and “Vengo de Nueva York” availables in: CD Baby, Deezer, iTunes, Apple Music, and Spotify. Likewise, the song “Herman” is in the process of recording. So, get ready because this Charanga orchestra promises their CD ended with great compositions for the public later this year.

Undeniable, the acceptance of Son del Monte has been so extensive on the part of New Yorkers and all who are Salsa lovers that they were recently awarded with the TANAE Digital Media Award for Band of the Year 2018, giving recognition to an arduous musical performance, but above all of great cultural value that keeps alive our Latin idiosyncrasy.

Son del monte - Premios Tanae
Son del monte – Premios Tanae

Manuel Rivera (Musical Director / Manager/  Timbales):

Manuel Rivera, have been a professional musician for more than 40 years and now Son Del Monte’s Leader/ Musical Director.  His musical career started playing Bongo in a Latin Workshop band which eventually became Orchestra Yambu.  Yambu was known for its Latin Jazz style and Disco Hit “Sunny”, his first recording.  Subsequently, I joined the original Charanga Orchestra Sublime of New York City, doubling up on Bongo and Timbales. He recorded on Sublime’s first two albums in 1977 and 1979.

In 2001, he rejoined Orchestra Sublime now known as “Sonsublime”. Manuel recorded on Sonsublime’s Gran Reserva and Bailando Con Sonsublime, their latest CDs. He studied various folkloric rhythms, Bata drums and sight reading at the Harbor’s Conservatory of Music in El Barrio in New York City under the guidance of the Master Louie Bauzo.

Manuel Rivera has performed with the Bassist: William Millan, of the original Conjunto Saoco, singers: Henry Fiol, Ray Ramos, and Luis Ayala.  Also, he performed with Yerason and the MTG All Stars Orchestra under the direction of Hector Leguillow, Joe Quijano at Lincoln Center and other various artists throughout his musical career.

 

Next Shows:

Monday, Jult 15TH   

Venue: Cunanele Restaurant and Lounge. 1 Route 46 W, Totowa, NJ 07512

Saturday, August 17TH   

Venue: La Placita de la Marqueta.  North trains between 111th and 112th Streets in East Harlem, “El Barrio” and uptown Manhattan, NY.

 

For more information, please visit:

https://www.SONDELMONTE.com

Or Follow them for their Social Channel:

https://www.facebook.com/MRSONDELMONTE/

Guantanamo music director, arranger and composer Julio Avila

Julio Avila Cuban Band 

The Latin music scene in Canada is growing every day thanks to the large number of artists who have decided to move to this beautiful country to try their luck with their talent. Such is the case of Cuban musical director, arranger, composer and singer Julio Avila and the members of his great band Julio Avila Cuban Band.   

Given that we thought his career was very interesting, we decided to contact him to learn more about his work and he was kind enough to accept the invitation. Here are the issues we touched on during this fascinating interview.  

Julio Avila Cuban Band
Julio Avila, musical director of Julio Avila Cuban Band

Life for Julio in Guantanamo, Cuba  

Contrary to the answer we might expect, Julio told us that making music in Cuba at that time was not difficult, as life was not so expensive and the economic crisis was not as severe as it is now.   

In his particular case, things were easier because his mother worked in a radio station and his father was a professional musician and the musical director of the popular music group Por Nuestros Campos for many years until he sadly passed away. It was undeniable that art ran through his veins. 

His sister Isabelita was also involved in popular music for many years and was even awarded on several occasions at the local Eduardo Saborit Festival. Today she is retired, but she was very successful locally at the time.   

Because all the brothers had a penchant for music, they decided to create a group called Los Hermanos Avila until they all went their separate ways and dedicated themselves to their own professions.   

Julio considers that today they would not have been able to devote to this branch of the arts due to the political and economic situation that the island is enduring, and he is thankful that it was not so. 

According to his words, the money was enough to buy the instruments in those times, but things become so complicated that developing an artistic career in the Caribbean country is much more difficult.  

All the members
All the band members with their instruments

Changüí 

Although he says he has played changüí because of his Guantanamo origins, he was never in a group that based its music on this traditional Cuban dance, as the artist has always liked popular music and salsa.   

”Changüí is a genre born in the province of Guantánamo that did not get much popularity, but today, it is impressive the large number of young people who play this dance, since they got a taste for it. In spite of all the years after it was created, there are guys who do not let it die, which makes me very happy” said Julio on this issue. 

When we wanted to know why he thinks that these young musicians have opted for this genre and not for other more modern ones such as trap or reggaeton, he replied that the latter two sound a lot in Cuba, but there have been music teachers and schools that have not let changüí die. They continue to teach it to their students and promote it whenever they can. 

In addition, there are always groups interested in preserving it in time and uniting it with son and other traditional Cuban genres. They even add flutes and violins, which were not present in the original changüí, in order to give it a unique and modern touch.  

Academic background 

Julio started playing the guitar being a child of five years old, as he had always seen his parents and older brothers involved in everything that had to do with music. Therefore, it all started in a very natural way and basically on instinct. It was later that both he and his siblings decided to educate themselves in order to become more complete professionals. 

In Guantánamo itself, he studied at a music school to become a bassist and began working fully on popular music, which had always been to his liking. 

With all that gained knowledge, he decided to move to the city of Havana, to get involved in other projects there and to compose his own material.   

Since he was 16, he earned a living as a bassist in a popular music group, which activity he alternated with his secondary education. It can be said that this is the formal beginning of Julio’s musical career. 

Julio Avila Cuban Band performing
Julio Avila Cuban Band performing at The Carnaval Del Sol in July 2023

Sonora Universal and Brisas Del Palmar 

Before forming his own orchestra, Julio worked with La Sonora Universal and Brisas Del Palmar, which were his first opportunities to shine in the music world.   

When the artist was working in a quintet, a trio from the city of Santiago (Brisas Del Palmar) went to a music festival in Guantanamo and thet had the opportunity to meet in a club in 1999. ‘’The musical director of the trio saw us playing and liked the way I played the bass. He told me about the possibility of playing with them, but it did not happen until 2001 when I went to Havana and we met by chance,” Julio said. 

After having some time worked with the trio, this musical director met the talented tresista Cesar Echevarría, director of Sonora Universal, who needed a bassist because his stayed in Germany. It was then that he told him about Julio and asked him to see him play, which led them to meet and start working together. 

Within a few weeks, Julio was already traveling to Europe with Cesar to tour Germany, Denmark, Holland, Austria and Czechoslovakia. This trip is the one that began to open new doors for him and make him develop as an artist. 

Definitive departure from Cuba 

When Julio had some time with La Sonora Universal, the director of Brisas Del Mar again asked him to join the group for a tour of Canada in 2005. When he was included, the group went from being a trio to a quartet.   

Receptivity from Canadian businessmen was so good that he decided to stay with Brisas Del Palmar permanently until he decided to move from Cuba in 2014 due to the situation which the island was going through. 

The latter coincided with the beginning of his love relationship with the Serbian citizen Natasha Marjanovic, who today is his wife, manager of his orchestra and a great life support. It was she who convinced him to stay in Vancouver, a decision he says it was the right one. 

Singer of Julio Avila Cuban Band
Singer of Julio Avila Cuban Band Isidora Bosanovic

Beginnings of Julio Avila Cuban Band 

It all started when Julio needed a pianist for Brisas Del Mar and hired Ernesto Benitez, who, once in Canada, told him that he was not going back to Cuba. That is when he saw the opportunity to start creating his own orchestra from himself and this musician. 

The next to be included was percussionist Norman García, with whom Julio and Ernesto formed a trio and began performing at festivals until Isidora Bosanovic, singer and his wife Natasha’s niece, arrived. Her case is very particular because she did not speak Spanish, but she learned it so she could sing in the orchestra. Today, she speaks and sings in Spanish very well. 

Finally, the band included Denis Barzaga, another musician originating from Guantánamo, who currently lives in Spain, but when required, travels to Canada to play with the orchestra in Vancouver.   

Recently, kettle – drum player Julio Paredes was included to replace Barzaga, who was unable to travel for the time being.  

Read also: Puerto Rican singer and talented sonero Charlie Maldonado 

Founder and owner of Guapacha Productions Gil Tower

Talk with Gil Tower 

From this platform, we have had to interview many famous Latinos who have left their countries and Latin culture in general on high, but today is the turn of a very special one. We are talking about the talented Venezuelan musical director and multi-instrumentalist Gilberto Torres, better known as Gil Tower in the artistic environment.    

Thanks to a mutual friend, we have managed to make contact with Gil Tower, who from the beginning has been very accessible and willing to share everything related to his work in the music industry and his contribution to the Latin cultural scene, so we are very grateful to him for giving us the opportunity to hear his great story.   

Below, we share the topics covered in a conversation that was as enjoyable as it was enlightening.   

Gil talked with us
Talented musical director and multi-instrumentalist Gil Tower kindly talked with us

Musical beginnings in his home country   

Gil Tower always knew that he wanted to devote himself to the world of music. When he was about five years old, he began watching television programs related to classical music and zarzuela. Several of his aunts were zarzuela teachers and took him to see zarzuela orchestras, which was great for him. In fact, several of those musicians he got to see play on these occasions ended up teaching him when he began preparing to become an artist. 

One of the most important institutions in the training of Gil is the National System of Youth and Children’s Orchestras and Choirs of Venezuela (El Sistema), where he was trained directly by maestro José Antonio Abreu, a fundamental part in the path which this young musician would take later in his career.   

He joined the children’s orchestra, advanced all the way to the youth orchestra and finally reached a more professional level in the national orchestra. At about this time, Gil recalls that ”maestro Abreu always said that we were rich because we had an instrument in hand and could change the world through music. As a child, I didn’t understand what he was getting at. Now I do understand and I think he was absolutely right.   

”Abreu was a unique influence on me because he transformed me as a person and musician. He also made me become a leader, as he had always wanted me to be,” he continued.   

Learning from the groups he was in 

As to the learning acquired in the many groups he worked with, Gil singled out Carlos Rojas, who was a musician and jazz lover. Carlos took the initiative to give a workshop in La Pastora (a very important area of the city of Caracas, Venezuela). 

Gil with his flute
Gil Tower with his flute

As a teenager, Gil used to go to La Pastora to learn to improvise with Carlos in salsa, as he liked this genre so much ever since. This is how he started learning about harmonies and taking his first steps as a composer. 

When given the chance to play with the group Los Morrillos, he learned a lot about gaitas and other Venezuelan rhythms from the western region of the country. In the case of the group Madera, he learned (and keeps learning) a lot about Afro-Venezuelan music in general.   

After that, he met Jesús ”Chucho” García, who is an intellectual, activist and author of several books on Afro-Venezuelanity. Together they formed a group called Cimarrón, with which they represented Venezuela at the International Jazz Plaza Festival in 1989. To date, they are still very good friends and continue to learn about this great musical branch from one another. 

Why move to Germany? 

His initial plan was to move to the United States to continue his studies in Berkeley, but he was unable to obtain the required visa at the time. However, that would not be the end of his dream.   

It turns out that some friends of his from the group Madera went on a Germany tour and stayed to live there. Then, one of them, Felipe ”Mandingo” Rengifo offered him to join them to work in that country and try to be admitted in one of their conservatories. At the time, Gil only had a saving of $1,000, with which he took a gamble.    

Although he had to play in the streets and wash bathrooms at the beginning, he achieved his goal of entering a conservatory, an institution that gave him the opportunity to fix his papers to have a legal status in Germany. Having solved this inconvenience, he was able to focus his attention on his musical project Guapacha (name in honor of a great Cuban drummer who lived in the parish of San Agustin del Sur, Caracas).   

All this experience was preparing him for when he could finally achieve his goal of going to the United States.   

 

Gil and Guapacha
His project Guapacha was named after a great Cuban drummer who lives in Caracas

Arrival in the United States   

While still in Germany, Gil was invited to participate in a jazz festival in the United States, specifically in Montana. He did so well that he amazed many musicians with whom he shared the stage that day and exchanged contact information for future events.   

Later, he managed to play in San Diego and Boston, where he had the opportunity to share the stage with the Boston Power Orchestra and meet Danilo Pérez, Dizzy Gillespie’s pianist. The latter, in turn, recommended him to maestro Tito Puente, whom he met shortly thereafter. 

This was how the artist managed to build a very respectable reputation in the industry through his talent. This is how he ended up playing with ”half the world” and building a great prestige as a musician and composer.   

In addition to singing and playing multiple instruments, Gil has also taught low-income youth in order to spread the knowledge he has gained throughout his career. He even created an orchestra composed of children whose parents have no resources or documents in order to help them learn music and provide them with better work-study opportunities in the future. Some have even got into college and obtained scholarships thanks to this knowledge.    

Parallel to these activities, he began composing and making arrangements for other artists who began to require his services.    

Guapacha Productions   

On the subject of Guapacha Productions, Gil says that the idea came when he began researching on the music industry, licensing, distribution and other things. 

The musician saw an opportunity to achieve his dreams during the pandemic, which is when he noticed that many artists had no idea how to register a composition and how other necessary licenses to collect their royalties from their music works.   

Gil, Guapacha, and major labels
Guapacha was created for the purpose of becoming independent from major labels

 

Noticing the ignorance of many young talents about the industry, he created the company Guapacha Productions, which is responsible for the musical production and arrangements for artists signed to this label.    

When asked how the economic issue was handled for artists who do not have the resources to launch their career as it should be, he explained that there are three types of music distributors: major labels, labels created by the artists themselves and independent companies like Guapacha Productions. We are a group of independent artists who created our own label and we are trying to have our own distribution, so we would not be obliged to negotiate with any big distribution company” explained Gil. 

Along with that, it is Guapacha Productions that will make agreements with Spotify, iTunes and other digital platforms to distribute the music of its artists without intermediaries. 

The company has been so successful in these efforts that its name will soon be part of the Latin Grammys, which means that the talents signed to the label will have the chance to stand out and be finalists in the various categories.   

Cheo Valenzuela’s ”Salsa Buena” Tour   

With respect to the important issue of Cheo Valenzuela’s ”Salsa Buena” tour (artist signed to Guapacha Productions) in Europe, there are negotiations with some event producers in France, Spain and England so that Cheo Valenzuela can perform at various venues in those countries. There are also talks of taking the artist to Central America and the United States, specifically to San Francisco, where Gil lives.   

In addition to that, Valenzuela is working on an EP with five songs by other artists and another one with five compositions created by himself. Being already a singer with a long-standing career, this last work would also become him a consacrated composer before the world. Once all this material has been released, his name is going to be considered for a Grammy nomination, which Gil has a lot of faith that he will win due to his great talent.   

At the time of doing this interview, Valenzuela is taking a few days off due to the death of his mother, so we send our condolences and solidarity to him and his family at such a difficult time. 

Read also: Musical director of VibraSÓN Jake Jacobs is here 

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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.