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Search Results for: music

René Latin Soul and his journey into music from his home country

René Latin Soul 

After anything we have yet witnessed in the Latin music scene of the United States, we can say that it is undeniable that Cuba is an endless source of talent and passion for music, so this island can never be missing in International Salsa Magazine. On this occasion, it was the turn of producer, musical director, arranger, composer and trombonist René Latin Soul. 

René is a talented Cuban who has managed to gain a very important place in the music industry in this country and we wanted to know how he managed to get there. Do not miss the fascinating conversation we had with the artist.  

René playing the trombone
René Latin Soul playing the trombone during a performance

Beginnings in Cuba 

René Amet Campos Artigas was born in the province of Camagüey, specifically in the municipality of Nuevitas. He came to music from a very early age, as many of his relatives are musicians, including his father and grandfather. This led him to enroll in the music conservatory when he was only 10 years old. 

He confesses that he always knew he wanted this to be his profession and had no other career in mind for tomorrow, so he always did his best to excel as much as he could in the music business. 

Once he finished school, René entered the military for mandatory service and was part of the general staff band. He was always intended to move to Havana in order to make himself known as an artist and he finally did it to stay for a while and see how he was doing. 

During this time, he was working for several nightclubs that offered live music, but he did it with the trombone given by the army when he was in the staff band, since he just did not have enough money to buy one of his own.  

Unfortunately, the time of the ”Special Period” arrived and this crisis forced him to return to his native Camagüey. However, this was not the end of his dream.   

Upon returning, both René and his father started an artistic project which they named ”Valentín y Los del Caribe” and started working in tourism, specifically in a company called El Cuartón Club which had hotels in Acapulco, Puerto Vallarta and Ixtapa, Mexico.   

Canada and the United States 

While working with El Cuartón, René spent a long spell touring in the Aztec country, which gave him the opportunity to get to know other territories and other ways of doing things. In one of these trips, he made the decision not to return to Cuba and try his luck on new horizons.  

He lived in the capital of the aforementioned country for more than 12 years, during which time he worked as an instrumentalist and worked with several artists belonging to the salsa guild such as La India, Jerry Rivera, Grupo Niche, Oscar D’ León, Los Adolescentes, among many others.   

René on stage
René Latin Soul performing on stage

When he met the woman who became his wife, they started their romantic relationship and began making plans of life in common, between which Mexico fell a long way short, so it was time to put down roots elsewhere. At first, this new place would be Canada, but plans changed and the couple ended up leaving to the United States of America. 

René and his wife spent about eight months living in Canada, but immigration issues became very difficult for them from one moment to another, so it did not take long for them to relocate to the United States.   

René never thought to live here, since the Cuban government instilled an absolutely negative view of what this country represents in children from a very young age and he was no exception. However, all those opinions changed once the musician began to really get to know this nation. Today, he feels he has adapted perfectly and has been here for about six years, when he moved to this country to establish his family and career.  

René Latin Soul & His Quartet 

Once René arrived in the United States with his wife, his situation was very complex as any immigrant’s, so he had to work on things that had nothing to do with music. In fact, he recalls he spent more than a year without playing the trombone because he could not devote himself to music at that time. 

That was it until he started playing trombone with the Kimbalai Orchestra, which he left in December 2021 and went to live in the city of Murrieta, one hour from San Diego. Once there he met Michael Mora, a friend who advised him to exploit the features of the city to start a solo project, which led him to start a solo career, which he finally did. 

As he made a name for himself, he was able to include other musicians in his project, which allowed him to build the quartet he has today. Although René is very happy with what he has accomplished so far, he plans to have a much bigger salsa band in the future.  

René and his piano
René Latin Soul in front of his piano

Music classes 

A very important part of René’s work with music is teaching and this was a point we found interesting to discuss.   

When asked if talent was natural or developed, he said natural. The artist thinks that the ability to play an instrument is innate in the musician, so this person only requires academic training to educate those gifts at a professional level.   

He finishes by saying that ”there is a very particular way of feeling the music and, if you don’t feel it that way, you can’t play it correctly. Time, tuning and melody are essential for anyone who wants to be a professional musician.  

Cuban talent despite the circumstances  

According to one of the descriptions provided by René’s website, the artist is one of the figures who demonstrates the virtuosity of Cuban-born musicians. Of course, considering that the island does not live the same normality as most countries in the world. 

About this, René said that ”clothes don’t make man. The most important thing to a talented person with an instrument is to focus on what he or she has to do and not look at anything around. There may be vicissitudes and shortages, but if you are focused on something you love, you have to find a way to improve and develop yourself in spite of everything”.  

In his case, the musician tells us that he had friends with travel opportunities who brought the most recent findings made in music and he was always interested in knowing these things to apply them to his own technique. 

Read also: Sizzling Summer Nights at the Autry Museum Of The American West 

Carlos “Nene” Quintero comes from a family of musical prodigies

Carlos Vicente Quintero De Jesús, better known as Nene Quintero, was born on October 21, 1946 in the Caracas neighborhood of Marín (a neighborhood of percussionists par excellence), in San Agustín del Sur.

In a family that has produced several musicians, among them his brothers the former “Madera”, Ricardo and Jesús “Chu” Quintero, who died in the Orinoco tragedy; Rafael who lives in Marseille or his nephews Luisito (the “chamo Candela” of Daiquirí), Robert and Chuíto, who live in New York.

During his adolescence he was in several groups and then he played with Los Dementes, the Venezuelan group Pan suerte de Santana with César Monge (Dimensión Latina) and Alfredo Padilla (La Salsa Mayor), Porfi Jiménez, Frank Quintero and Los Balzehaguaos, Yordano and many others.

Carlos "Nene" Quintero comes from a family of musical prodigies
Carlos “Nene” Quintero comes from a family of musical prodigies

-What would be the five main moments of his career?

Nené lists them:

1- Having worked with people I went to see at a radio station and then I got to play with them. That was in the 70’s, in a place called Playboy in Altamira, with their bunnies and everything.

I worked with Lewis Vargas and Rafael “Gallo” Velásquez on trumpets; Moscatt was the saxophonist; Willy Pérez, pianist; Jorge Romero, bassist of Aldemaro Romero’s Onda Nueva; and Marcelo Planchart on drums.

2- When I heard on the radio a song I recorded with Los Dementes: “Rómpelo”, which was very popular. I saw myself as a very famous person, I was heard on the radio for the first time.

3- When Eumir Deodato came and proposed me to go with him to the United States.

I was not in conditions to go because I was working very well, I was doing a lot of jingles, I had two children who were starting to study.

I was sacrificing something that was taking shape: my family. I told him I could go, work and come back. The surprise was when a letter arrived for a tour of Mexico and the United States.

Deodato is a very kind person, he gives you freedom to work, we communicated in “Spanglish” and “portuñol” and he loved beer.

Carlos Nene Quintero
Carlos Nene Quintero

4- Seeing Celia Cruz when I was a kid in Marin, going to visit friends like Johnny Perez, from Sonora Caracas, and some time later working with her, even in her last shows, in Montreal.

Celia’s birthday was the same day as mine, and she looked older, but as soon as she started the music and said “sugar!” she was different, she was transformed.

5- Working lately with my nephews Robert and Luisito gave me a lot of emotion: The three of us on the same stage in New York with Celia Cruz.

But there are more experiences. Eros Ramazzotti, for example. “I chose to go to New York and Miami when things got tough here. I worked with Gato Barbieri and with salsa people.

I would go back and forth, two months out and back. I was recording with a saxophonist who worked with Eros and, the following year while I was in Miami he called me for a six-month tour.

I said yes, they called me the following year again and I spent three years with Ramazzotti touring all over Europe, Brazil, Puerto Rico, Central America, Mexico and Miami.

-Any anecdotes with Ramazzotti? –

Once on his birthday he rented a track where they raced cars. We were drinking, driving, talking, talking, listening to music and they brought a cream cake for Eros.

At one point when he was very close to me with the cake in his hand, I put it in his face. It was a mess with everyone throwing things and pieces of cake at each other.

But I got the impression that he was upset and I went over to apologize and explain to him that it was something that could happen on any South American birthday, especially with a cream cake. He told me not to worry, that it was fine.

Other jobs came through Ramazzotti, such as with Jovanotti and Lucio Dalla.

-And how was it with Little Louie Vega, one of the producers and DJs of the moment?

-I met him through Luisito. We have been touring Europe, the United States and Japan for the last three years, and we recorded with Pushim, a Japanese woman, a song that was in the Japanese top ten.

Meanwhile, “Nené’s” routine continues to be more international than ever between the United States, Europe and especially France, where he has been working with a group that bears his name: Nequin Group, with whom he recorded an upcoming album.

“Working abroad is like working here, but in another language”, he reflects on the matter and says that he is preparing a method for percussionists to work with their feet as well as with their hands.

Carlos Nené Quintero con mi Signature congas (Roberto Quintero)
Carlos Nené Quintero con mi Signature congas (Roberto Quintero)

-What has seemed new to you lately in Europe or in these parts?

-Those jazz works in which there is no conventional group with drums or bass, like what I did with Gerry Weil and Pablo Gil at the Corp Group Cultural Center.

THE BATICONGA AND THE “MCGIVER SET”.

The baticonga is a hybrid: drums with conga. I use bass drum, hi-hat, cimbals, toms, snare and cymbals of various thicknesses.

It has a special redoblante with a rim that does not protrude from the leather so that it does not bother when hitting it like a tumbadora.

It is an idea that I have been maturing. It was born because of Yordano’s album that made him famous, Manantial de corazón, there I recorded all the percussion and when it was time to play it live we needed a drummer and two percussionists. We got the drummer, but things were missing and I started to add electronic pedals, electronic drums, octapads and to use feet and hands.

Then we did an unplugged set and it had to be acoustic with congas, bass drum, snare drum, hi-hat, cymbals.

The McGiver set is a djembe with brushes, cymbals with rivets, a conga that is just like a lid, like a tambourine, and I mount it on top of a snare drum stand and a cowbell. A set that does it all.

SIX INFLUENTIAL PERCUSSIONISTS

Alejandro Blanco Uribe and Airto Moreira: “I saw a lot of Gerry Weil with La Banda Municipal in the 70s and Alejandro as a multi-percussionist with effects and accessories.

That led me to look at Airto’s proposal and to fall in love with percussion at a time when I was playing guitar”.

Trilok Gurtu: “For his fusion of oriental music with rock and jazz. I’ve been hearing him since Oregon, and when I heard him with John McLaughlin on the live album in London my jaw dropped.”

Jack DeJohnette: “As a drummer he has a very floaty groove, he can do with the beats what he wants and the rhythm is always there.”

Tony Williams: “Another drummer. I saw a video that aroused my interest because his technique is like the one I use with the baticonga”.

Carlos Nené Quintero con mi Signature congas (Roberto Quintero).
Carlos Nené Quintero con mi Signature congas (Roberto Quintero).

Giovanni “Mañenguito” Hidalgo: “Since he came out the thing changed, he gave another level to the congas or tumbadoras, with him there has been a ‘before and after'”. – with Roberto Quintero and Luisito Quintero.

Also read: Argenis Carruyo is known in the music scene as “El Volcán de América” (The Volcano of America) due to the power of his voice

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 

Argenis Carruyo is known in the music scene as “El Volcán de América” (The Volcano of America) due to the power of his voice

Carruyo He was born in Maracaibo on August 22, 1953 at the Chiquinquira Hospital in Maracaibo, located in the same sector where he grew up.

Argenis Carruyo he had the good fortune of being a neighbor of Los Blanco, who 12 years after his birth hired him as an instrument picker, an experience that served to awaken in him the love for music, a feeling that was nurtured when he discovered in him an unmistakable talent to make singing his life support.

“The Volcano of America” because the power of his voice makes the senses of those who have the opportunity to listen to him rumble; so sings Argenis Carruyo, from Zulia, who from a very young age began to demonstrate the vocal quality that characterizes him.

Argenis Carruyo is known in the music scene as "El Volcán de América" (The Volcano of America) due to the power of his voice
Argenis Carruyo is known in the music scene as “El Volcán de América” (The Volcano of America) due to the power of his voice

He has stood out as an interpreter of the gaita zuliana and during the 1970s and 1980s belonged to the Dimensión Latina.

The 80’s was a very busy decade for this multifaceted character; he sang with Orlando y su Combo, and did a duet with Ender Carruyo in the orchestra “Los Hermanos Carruyo” and then again with the Super Combo Los Tropicales, until 1985 when he decided to found his own group called “Argenis Carruyo y su Orquesta”.

He began his musical career with the youth group Los Larkings. Later, he was part of Los Juglares and Los Casinos.

In 1973, he joined the ranks of Súper Combo Los Tropicales and in 1977 he was recruited by Dimensión Latina, with whom he sang until 1981. Later he joined the group Los Melódicos.

During the 1980s he had an intense artistic activity in which he sang with Orlando y su Combo, duetted with Ender Carruyo in the orchestra Los Hermanos Carruyo, worked again with the Súper Combo Los Tropicales and, in 1985, formed his own group: Argenis Carruyo y su Orquesta.

Argenis Carruyo and his Orchestra
Argenis Carruyo and his Orchestra

Sabor a Gaita:

Apart from his work with rhythms such as guaracha and salsa, Carruyo has also performed the gaita zuliana.

The Volcano of America has not only stood out among the great interpreters of the Caribbean for playing rhythms such as the guaracha, he has also honored his land by making famous great gaita compositions.

During his time in the genre he worked with groups such as El Número Uno, Rincón Morales, Guaco, Los Morillo and Gaiteros de Pillopo.

He owes part of his fame to the gaita, because the Zulian melody accompanied him on stages and still accompanies him in his veins as it does to anyone who appreciates being a worthy Maracaibero.

During his artistic life he has received numerous recognitions, as well as the publication of a book with his biography.

In 1975 he won the Festival de Cantantes y Compositores Zulianos and has received the Mara de Oro (1993, 1994, 1995) and Gran Cacique de Oro awards as best singer, the Gran Aguila de Venezuela as best singer and dance orchestra (1995, 1996, 1997, 1998, 1999, 2001), and the Catatumbo de Oro as best popular singer (1993) among others.

"The Volcano of America"
“The Volcano of America”

His orchestra received the Orden Ciudad de Maracaibo in its first class as best dance group.

He has performed in the most important nightclubs in Maracaibo, the country and abroad, alternating with the most recognized figures of the song, which is why he is considered one of the most genuine interpreters of tropical Caribbean genres in the Zulian region, such as salsa, guaracha, cumbia, merengue and bolero.

With a prolific career of more than twenty-five years that has served to demonstrate his talents as a vocalist and his own characteristic style, which gives him his most authentic identity.

Argenis Carruyo, with pride from Maracaibo, proclaims that he owes to Zulia the success and fortune that always accompanied him since he discovered the enormous talent he carried in his blood, his homeland became his main fan, to Maracaibo he owes his life and to its inhabitants the affection and the memory that will always keep him alive through his songs.

For 2023 Argenis was specially invited to participate in the excellent group Quintero’s Salsa Project – Tributo A La Dimension Latina directed by New York based percussionists Luisito Quintero and Robert Quintero.

Luisito Quintero grew up in the Latin and African percussion tradition. His father is as percussive as his uncle Carlos Nene Quintero and cousin Roberto Quintero. He became a member of the Venezuelan Symphony Orchestra, but soon joined ensembles such as Grupo Guaco and El Trabuco Venezolano and toured with Oscar D’León.

He then moved to New York, where he met Latin jazz musicians like Willie Colon, Eddie Palmieri, Tito Puente and Celia Cruz worked. He then turned to the fusion of jazz, funk, salsa and African music and played with George Benson, Herbie Hancock, Ravi Coltrane and Toshiko Akiyoshi, but also with pop musicians such as Gloria Estefan and Marc Anthony. Louie Vega produced his first album with him.

Quintero’s Salsa Project – Tribute To The Latin Dimension

Tracks: Ya Tu Lo Véras; Sin Tu Cariño; Cara de Guabina; Sigue Tu Camino; Irimo; Dulce Cantar; De Quintero a Dimensión; Ahi Nama; Te Conocí; Parampampam; Arroz Con Manteca; Frutas del Caney.

Musicians: Argenis Carruyo; Jimmy Bosch; Marcial Istúriz; Roberto Quintero, Luisito Quintero.

Record labels in which Argenis Carruyo has participated.

Top-Hit (TH), Maracaibo Record’s, Argenis Carruyo, Discos VRZ, SonoVen Records, L. G. Record’s C. A; iMusician | EDGARSARMIENTO, Palacio, among others.

Argenis Carruyo y Dj. Augusto Felibertt
Argenis Carruyo y Dj. Augusto Felibertt

Sources:

La Buena Musica: Argenis Carruyo

La Salsa es mi vida: Quintero´s Salsa Project – Tributo A La Dimension Latina

Also Read: Víctor Porfirio Baloa Díaz, more commonly known as Porfi Baloa

Medejazz from September 6 to 16 will be held the 27th version of the “International Festival of Jazz and World Music”

Medejazz 2023, to delight the ears, Music and Art in Medellin.

In 1996 the Medellin Jazz “Medejazz” Corporation was founded, which in 2006 changed its name to Medearte Corporation, continuing with the same cultural vision and objectives.  With the work of these years, Medearte Corporation has made it possible that musicians who were once only idols heard on records, today are part of the musical history of Colombia and Medellin specifically.

The Medearte Corporation has developed projects where the main objective is the dissemination and promotion of the arts in its various manifestations, the institution is recognized nationally and internationally for its business management in favor of culture in Colombia and to support projects of young musicians and artists in the cultural work of the city of Medellin.

Medejazz, the 27th version of the International Jazz and World Music Festival will be held from September 6 to 16.
Medejazz, the 27th version of the International Jazz and World Music Festival will be held from September 6 to 16.

The 27th version of the “International Jazz and World Music Festival” will be held from September 6 to 16. Continuing with the tradition that the Festival has consolidated over the years, our city will host a wide range of artists, performers and groups, who thanks to their talent and creativity, will radiate their music and sounds on the public of Medellin.

The breadth of artistic genres, nationalities, cultures and staging that this Festival “Medejazz” has prepared for everyone will make Medellín the center of a rich diversity and cultural and human plurality, embodied in the multiple sounds that, we are sure, will not disappoint.

The MedeJazz 2023 program, with the support of the Ministry of Culture, the Mayor’s Office of Medellín and La Fiesta del Libro y la Cultura, will offer six in-person concerts, five of which will be free admission. In addition, the Festival will offer four free master classes, as a contribution to the academic-musical training of young musicians.

The Festival will also offer four free master classes as a contribution to academic-musical education, and young people from music schools will have the opportunity to nurture this knowledge. The Festival will be held from September 8 to 17

– Eleven concerts in Medejazz 2023

– Ten concerts with free admission

– Groups and members from France, Holland, Cuba, Brazil, Colombia, the United States, Puerto Rico and Venezuela.

– Four master classes with free admission.

Groups from France, Holland, Brazil, Cuba, Colombia, the United States, New York, Venezuela and Puerto Rico will grace the nights of Medellín.

“Medejazz” From France will be Samy Thiebaut, from Holland Nueva Manteca, from Brazil the female duo of Eloudie Bouny and Iara Ferreira, from the island of Cuba the pianist Ernán López Nussa with his project Havana in The Grand Manner, from New York – Puerto Rico – Venezuela and Cuba the tributes to Héctor Lavoe and Ismael Rivera.

For Colombia, the six winning groups of the 2023 calls: Sara Elisa Villa, Geografías, Mulatas, Groovato, Luis Bernardo Jazz Project and Tomate’s.

Three large stages will witness these great nights: Tarima Carabobo within the Festival of Books and Culture, Plazoleta del Museo de Arte de Medellín MAMM and the Great Hall of Plaza Mayor.

Starting Friday, August 25, you can visit the updated website with all the information about Medejazz 2023.

MEDEJAZZ 2023 PROGRAM

Sara Elisa Villa (Colombia). Friday, September 8 – 6:30 pm – Tarima Carabobo Fiesta del Libro y la Cultura. FREE ENTRANCE.

Geografías (Colombia). Saturday, September 9 – 6:30 pm. – Tarima Carabobo Fiesta del Libro y la Cultura. FREE ENTRANCE.

Mulatas (Cuba-Colombia). Saturday, September 9- 8:00 pm- Tarima Carabobo Fiesta del Libro y la Cultura. FREE ENTRANCE.

Groovato (Colombia). Sunday September 10 – 6:30 pm- Tarima Carabobo Book and Culture Festival. FREE ENTRANCE.

Luis Bernardo Jazz Project (Colombia). Tuesday, September 12- 8:00 p.m. Tarima Carabobo- Book and Culture Festival. FREE ENTRANCE.

Tomate’s (Colombia). Thursday, September 14- 7:30 pm. Plazoleta Museo de Arte Moderno de Medellín- MAMM. FREE ENTRANCE.

Samy Thiébault (France). Friday, September 15- 8:00 pm. Tarima Carabobo- Book and Culture Festival. FREE ENTRANCE.

New Manteca (Holland). Friday, September 15 – 7:30 p.m. Plazoleta Museo de Arte Moderno de Medellín- MAMM. FREE ENTRANCE.

Eloudie Bouny and Iara Ferreira (Brazil). Saturday, September 16- 6:30 p.m. Tarima Carabobo- Book and Culture Festival. FREE ENTRANCE

Lavoe Orquesta + Joseph Amado, Moncho Rivera y Mulatas (New York, Puerto Rico, Venezuela, Cuba and Colombia). Saturday, September 16 -8:00 p.m. Gran Salón de Plaza Mayor. Information: Ticket Express.

Lavoe Orquesta + Joseph Amado, Moncho Rivera
Lavoe Orquesta + Joseph Amado, Moncho Rivera

Havana in the Grand Manner with Ernán López Nussa (Cuba). Sunday, September 17- 5:00 p.m. Plazoleta del Museo de Arte Moderno de Medellín- MAMM. FREE ENTRANCE

 

INFORMATION

www.corporacionmedearte.com

Social Networks

Facebook: (Medearte- Festival Internacional Medejazz) 

YouTube: Festival Medejazz

Twitter: (@MedeJazz) https://twitter.com/MedeJazz

Instagram: (@MedeJazz)

Lavoe Orquesta + Joseph Amado
Lavoe Orquesta + Joseph Amado

Also Read: Henry Benavides surprises with “Por Cuenta Propia,” his new project

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