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In Concert: Hacenoba Salsa & Jimmy Bosch In Saint-Étienne

They will be together in an exceptional concert at Le Fil this May 14th

Adiel Castillo (Musical Direction – Piano), Aymel Gómez (Voice), Wilbert Valera (Voice), Nadir Slimani (Bass), Miguel Río Puntilla (Bongo), Philippe Fougerouse (Timbales), Hamid Benabella (Art Direction – Congas), Guillaume Monier (Saxophone), Laurent Sedent (Trumpet), Romain Bourlhonne (Trombone)

The Hacenoba Salsa group and the world-renowned Trombonist Jimmy Bosch will present a unique salsa show in which lovers of this Latin rhythm will sing and dance from the first notes. This concert will be preceded by a Salsa lesson by the couple (Aurélie and Rémi) belonging to the Barrio Latino humanitarian association under the best salsa mixes of the DJ from the city of Callao (Peru), Oscar D Lyon.

This show will take place on the second Saturday of May at Le Fil, an artistic platform for contemporary independent music and cultural life developed in the city located in southeast France, Saint-Étienne. Its address is 20 bd Thiers 42000 Saint-Étienne, France, and the cost of pre-sale tickets is €20 and the Box Office €22.

The Cuban Salsa orchestra, Hacenoba, brings to this concert the essential rediscovery of the island’s music (Mambo, Salsa, Cha-Cha, and Timba) accompanied by brushstrokes inspired by internationally famous composers and artists of the genre such as Oscar D’ León, Héctor Lavoe, and others.

This ten-member band with its explosive music combines percussion with piano, saxophone, and bass for a frenetic and bewitching rhythm that has led them to participate in different festivals, cultural events, parties dedicated to Cuban music (or Latin music ), and private parties in the region.

Jimmy Bosch has collaborated with Rubén Blades, Ray Barretto, and Celia Cruz, among many others.

Likewise, the master Jimmy Bosch is acclaimed in more than 70 countries as an exceptional Latin music Trombonist, has 11 Grammy Awards, and more than 100 recordings in the Salsa and Latin Jazz genres. He also has a great career as an orchestra leader and is coveted by his audience due to his extraordinary performances on stage.

The creator of hits like Otra Oportunidad (1998), La Cacharra (1999) Qué Bonito es Soñar (2004), La Noticia (2004), El Avión de la Salsa (2004) y Ay Mamacita-Boogaloo (2018) among many others, also will be dictating a Masterclass for professional musicians where he will explain and demonstrate the variations in Salsa. The lessons will be oriented towards practice and active participation with the instrument during the clinic. This masterclass will be held on May 24^th -25^th at Kafésynk located at Øvingshotellet, Trondheimsveien 2, Bygg H, 0560 Oslo, Norway from 5 PM to 8 PM, and tickets cost NOK 1,600 approximately $174.26.

The trombone master has worked with FANIA All-stars, Eddie Palmieri, Ruben Blades, Ray Barretto, Machito, Cachao, and many more. He has participated in Salsa conventions, Latin and Jazz music festivals around the world, as well as performed in clubs in Asia, Europe, America, and Oceania.

Jimmy Bosch’s record productions include Soneando Trombón (1998), Salsa Dura (1999), El Avión de la Salsa (2004) ,and A Millón (2009).

Oscar D Lyon was born in Callao, known as the capital of Salsa in Peru.

The perfect DJ for this magnificent evening at Le Fil will be Oscar D Lyon, who has more than 30 years of career in the music scene. He started in Lyon in the ‘90s, continued at Latino 1, and pursues his rise at Casa Latina for ten years. His likes and musical inclination from South America have made him stand out in the Latin environment of the region. Currently, Oscar D Lyon mixes the rhythms of Salsa and Bachata in various clubs in Saint-Étienne, such as Cabana Café, the Fox, and recently, Barrio Club.

Ismael Miranda Carrero “El Niño Bonito of the Fania All Stars”

Where did Ismael Miranda’s artistic nickname “El Niño Bonito de la Salsa” (The Pretty Boy of Salsa), with which he became known, come from?

I liked to dress up and look nice for the presentations on one occasion I went to the hairdresser’s and bought a suit for the show when I arrived at the hotel, Johnny Pacheco said to me: ‘How nice, the pretty boy is late! As always.

And from that day on they called me “El niño bonito de la salsa” (the pretty boy of salsa). Pacheco gave the nicknames to everyone in the Fania All Stars.

Johnny Pacheco had a lot of faith when he came up with the idea of making this movie and it was a success.

People vibrated with our songs and we took advantage of 4 emblematic concerts to record it.

That’s how we have to walk through life. It is enough to know that we are doing things right to reap triumphs. Said the trumpet player and composer.

Perico also took the opportunity to tell where all that tasty Caribbean rhythm comes from, of which they are such good exponents. “The folklore of Latin American music was born in Africa”. He recalled the first time he arrived with La Fania to this continent. He still has in his mind the gesture of the Africans when he saw people from other parts of the world playing the congas like masters. We all felt proud, he said.

Miranda also recalled that on August 6, 1980, he arrived for the first time in Barranquilla to present a concert with Héctor Lavoe.

“We were used to performing on huge stages and singing with a well achieved sound; in Barranquilla there was nothing like that, but something magical happened, the affection and joy of the people infected us.

Hector and I gave a show of height, at the end we realized that we enjoyed it completely with all the people of Barranquilla.

During the conference, Perico Ortiz explained why he never recorded an album with Las Estrella de la Fania.

“I never recorded an album, but I participated in many concerts. At that moment I felt in my heart that it was time to sing and I told Jerry Masucci to give me the opportunity, but he did not see me as an artist, but as a trumpet player and arranger, so I decided to retire from La Fania and concentrated on recording my first album as a soloist in 1977 titled My Own Image”.

Ismael was born in Aguada, in western Puerto Rico, but as a child his family settled in New York. He began singing in English in school plays when he was only eight years old, and was even part of a children’s group called “Little Junior in the Class Mate”.

Soon after, he began taking singing lessons at a music school at 46th and Broadway, and then to improve his singing skills he studied with a music teacher recommended to him by Tito Rodriguez.

The environment in which he grew up helped him cultivate his love for music. First he wanted to be a percussionist and not a vocalist. That is why at the age of 10 he told his mother of his desire to buy a conga. Later he acquired a bongo, which resounded throughout the neighborhood. He got to play the conga in Andy Harlow’s sextet, and was part of the Sexteto Pipo y su Combo. But he finally turned to singing, for which he was assisted by Ismael Rivera.

He made his first recording in 1967 with José Luis Pastrana Santos, a musician, composer and timbalero from Santurce, known as Joey Pastrana, on the album Let’s Ball.

This album, recorded for the Cotique label, contains Ismael Miranda’s first big hit, the song “Rumbón melón”.

Facebook: Ismael Miranda

Ramón “Mongo” Santamaría “I wanted to do something that sounded like home”.

April 7, 1917, Mongo Santamaría was born in the Jesús María neighborhood of Havana, Cuba.

Exceptional percussionist of Latin Jazz and related rhythms, whose first name was Ramón Santamaría.

Mongo left to continue playing his Congas hard in the sky on February 1st, 2003.

“I wanted to do something that sounded like home”. With these simple words, Ramón Santamaría Rodríguez “Mongo Santamaría” spoke of his essence.

The purpose of his music pursued a sonority and a memory, possibly located in Cuba, in Jesús María, a marginal neighborhood where he grew up and enjoyed a tradition attached to the drum, to religion, to the street and from where this great Cuban percussionist drank infinitely.

But surely those drums also came to him from far away, from the Congo, where his grandfather came from to be a slave on the island and who also filled his head with sounds full of meanings and colors, which he later masterfully spread around the world.

The name of Mongo Santamaría (Havana, April 7/1917 – Miami, Feb. 1/2003) is, for the glory of all music, an inevitable reference of Cuban percussion.

Since he was a child he knew that his thing was to play the drum and he was lucky enough to belong to a family of empirical musicians, singers and drummers who supported him in the learning and mastery of these instruments.

During his time in Cuba, already a professional musician, he participated in numerous groups that little by little gave him a place among the most outstanding percussionists of the time. Some names of these groups are El Conjunto Boloña, Lecuona Cuban Boys, with whom he was able to participate in the recording of his first album, Conjunto Matamoros, Segundo Grupo de Arsenio Rodríguez, among others.

Each group had its own style and stamp, but in each of them Santamaría put his personal “touch”.

At the prestigious Tropicana cabaret he played with Chano Pozo as a member of Armando Romeu’s orchestra.

From that moment on, his career would not stop. Conjuntos, Septetos de Son were the perfect selection to complete the sap from which he would draw all his style and technique.

Later, from carnival to carnival, he would gather with other percussionists to play in the comparsas and experience the festive musical atmosphere par excellence of those years.

Alongside him played other friends who soon became a Cuban reference in the United States: Patato Valdés and Armando Peraza.

As part of the Tropicana orchestra and located in a show in Mexico, he decided to settle there as did many musicians of his time and came to play with Pérez Prado and Benny Moré.

It was precisely in the latter orchestra where he met Clemente Piquero “Chicho”, another Cuban percussionist whose style made him rethink the role of percussion in Cuban popular orchestras.

Mongo Santamaría belongs to the second wave of Cuban percussionists who arrived in New York in 1950.

His new idea of restructuring and designing his own style in the use of Cuban percussion was perfectly in tune with the reality that a few years earlier was being experienced in the music produced and sold in New York, after the arrival of the Cuban rumbero Chano Pozo.

“The rhythm produced by the conga organizes all the percussion of a band, from which melodies and counter-melodies can be experimented with.”

“I think percussion is the base from which things come out.”

Already in the United States, Mongo plays with Gilberto Valdés, again he is part of Pérez Prado’s orchestra and finally with Tito Puente’s, where he stayed for 7 years. Once in the line of Afro-Cuban jazz, so popular at the time, he joined George Shearing’s group and later the vibraphonist Cal Tjader.

With his own orchestra, he accompanied La Lupe, one of his favorite singers, and undertook projects of novel formats for the time, such as small formations of brass trio, piano, bass, percussion and drums, at a time when jazz bands predominated.

Mongo Santamaría, perhaps without the theatricality to which Chano had accustomed the New York public, focused all his strength on achieving his own sonority, with a fusion of Cuban styles and genres, perfected and deepened in the introduction of Afro-Cuban rhythms with a naturalness and using colorful timbre elements by using several tumbadoras in his set.

His creativity is highly demonstrated in the great amount of music that is part of his catalog of works and the quality becomes indisputable when seeing the amount of outstanding jazz interpreters that version and recreate his work.

In 1959 he recorded Tambores y cantos, which contains the song Afro blue, which over the years became “a jazz anthem of all times”, according to Nat Chediak, author of the Latin Jazz Dictionary.

His long recording career (50 albums), testifies to the musical activity that this great percussionist carried out throughout his professional career. He worked with American jazz legends such as Chick Corea, Herbie Hancock, flutist Hubert Maws, Dizzy Gillespie, trumpeter Marty Seller, among other musicians who today still pay tribute to this Cuban conguero who was the architect of the fusion of rhythm & blues rhythms and Afro-Cuban music, recognized the connection of Cuban music to African roots and placed the congas in an indispensable instrument for the determination of Latin jazz.

In 1977 Mongo Santamaría received the American Grammy Award for “Best Latin Recording” for the work Dawn.

In 1999, Rhyno Record Company, based in Los Angeles, California, recognizing his contribution to Latin Jazz, released the “box set” (CD) Skin On Skin: The Mongo Santamaría Anthology (1958-1995), which includes 34 of his most successful pieces (from his rumba albums, his LP with La Lupe and his projects in the fusion of Jazz and Latin) and an extraordinary literature about his career written by actor Andy García, musician Poncho Sánchez and other connoisseurs of the Latin Jazz genre such as José Rizo, Luis Tamargo, Joel Dorn and Miles Pelich.

The legendary musician was extremely honored and grateful for the distinction Rhyno gave him by introducing this historic anthology to the world. As stated in the conversation with Jaime Torres, Mongo said:

“This is the fruit of many years of work, music made with taste and love.”

May he rest in peace and eternal glory to him.

From Peru and based in France we have Wálter Antonio Rebatta Hinostroza is a brand new and spectacular percussionist.

We are honored to present in this new release, one of the most outstanding figures of Latin music, representing the brother country of Peru, who has put the name of the musicians born in Inca lands very high in the world.

With you, directly from France, we have as a special guest Wálter Antonio Rebatta Hinostroza, a brand new and spectacular percussionist, who was born on September 14, 1973, in Bella Vista, Callao, Peru, being artistically known as “El Chato”.

Welcome Wálter to Salsa Escrita “La Columna Salsera de Barquisimeto, Venezuela”. It is a great pleasure to have you as a special guest in International Salsa Magazine, www.SalsaGoogle.com.

Thank you very much to you, my friend, Professor Carlos, for the invitation to your well read and recognized column and I take this opportunity to give a sincere greeting to all Venezuelans who are like my brothers.

How did you start in music? Well, teacher in my neighborhood called Ventanilla, in Peru, I grew up and since I was a child I breathed musical air, where at the age of 6 years old I was already playing “El Cajon”, traditional Peruvian Creole instrument, under the tutelage of my older brother Kike Rebatta, who took me later to learn other percussion instruments and prepare me with music theory, and then enter the music school of the renowned teacher Edelmi Chavez, and thus join the ranks of the most renowned orchestras in my country, such as: La Iniciativa, Orquesta la Grande, Banana Latin Jazz, among others.

Wálter, which international orchestras and artists have you accompanied? I have accompanied and worked with “Los Hermanos Colón” from Puerto Rico and among many groups, I have had the honor of being on stage with my Venezuelan brothers, Hildemaro “El Sonero del Amor”, with whom I have a great friendship, as well as with the master timbalero Alfredo Villamizar, from whom I have learned a lot and from whom I must thank through his column Salsa Escrita. “Chato”, you are currently based in the French city of Grenoble and we would like to know how is the salsa movement, especially in Europe. In fact, professor, in 1995, I came to Europe with the “Orquesta Salsa Perú” and I met Mr. Rodolfo Guerra, with whom a great friendship was born and I became part of the “Orquesta Sincopa Latina”, directed by him, being present in his productions: Salsa que te pasa, Demasiado corazón, Mi bachata, Puerto Rico, Todo, Escándalo, Mi silencio, Mi toque, Habla conmigo and Azafata. Wálter, I have heard that you have accompanied great salsa artists in their presentations, tell me who? I have had the honor of accompanying the late Tito Gómez, Willie González, Luisito Carrión and the great Venezuelan sonero Orlando José Castillo “Watussi”.

Also, let me tell you professor, that I have worked in the Italian television Media Set, in the very popular program “Notte Vola”, also in 2002, I participated in the Tour of the Queen of Salsa, Celia Cruz, along with the orchestra of the prestigious world famous violinist Alfredo de La Fe.

Likewise, my friend Carlos, in 2004, I performed in numerous events with Latin jazz groups, among them “El Royal Cuba”, of the Cuban musician and singer Eduardo Céspedes.

In 2007, I participated in the prestigious and famous festival of San Remo with the singer Daniele Silvestri, with whom I have recorded in his productions. In 2009, I participated in the Italian tour “Terromotati Dil Abruzzo”, conducted by the famous singer Laura Pausini and later that same year I participated again in a tour in the United States for charity with Pausini again.

Excellent Wálter, and what can you tell us about the orchestra you are currently working with and what are your future projects? Professor Carlos, at present I am an official musician of the renowned orchestra “Mercadonegro” and in relation to my projects, is to form my own group and perhaps dabble in bachata, but without leaving aside the salsa, since living in Europe I have met many bachateros. And something very important, my friend Colmenárez, I am also working on the project of my Venezuelan compadre, the musician Edwin Sanz, whom I would like you to interview at some point.

Very good Wálter, congratulations for your career, what are your contacts on digital platforms? My Facebook is: Wálter Antonio Rebatta Hinostroza and my whatsapp: +41 77 5122633.

We want to wish you the best on behalf of Salsa Escrita “La Columna Salsera de Barquisimeto” and that you continue to put the name of Peru on high in all the stages of the world.

Thank you a thousand times, Professor Carlos Colmenárez, for taking me into account and thus make my career known and offer my greetings, thanks and respect to all the salseros of the world through International Salsa Magazine, www.SalsaGoogle.com and long live salsa, Peru and Venezuela, united forever…!

Frederlyn Mayora returns to Venezuela to sing Salsa Romántica to the dancing public.

Last Friday, April 22, at 7:00 p.m., a concert was presented at the Juana Sujo Hall of the Casa del Artista, in Quebrada Honda, Caracas. Tickets are already on sale at popular prices.

After several years out of the country, Venezuelan singer Frederlyn Mayora returns to Venezuela to relaunch his musical career and sing Salsa Romántica to Venezuelan dancers and music lovers.

Mayora, who has been part of the orchestras of Tony Vega, Maelo Ruiz, Jose Alberto “El Canario”, Luisito Carrion and Tito Nieves, among others, arrives in the country with a single called “Viernes Romantico” that promises to be a hit in a short time.

“I want everyone to know what I am doing and what I come to do in Venezuela”, said the singer who now has his own orchestra.

The singer will be in Venezuela until the end of his musical production loaded with romantic Salsa, ballads and merengues.

On April 1 and 2, Mayora offered a couple of concerts called “After Party de los Hermanos Primera”, that is to say, he performed in a well-known venue of the CCCT as soon as the presentation of the renowned singers Servando and Florentino was over, and it was a full house.

On Friday, April 8, at 4:00 pm, he will offer a press conference at the Doris Wells Hall of the Casa del Artista in order to announce in detail the entire agenda that he will fulfill on Venezuelan soil.

On Friday, April 22, he offered a concert at the Juana Sujo Hall of the Casa del Artista, located on Amador Bendayán Boulevard, Quebrada Honda, Caracas.

The event was scheduled for 7:00 pm. The occasion will be propitious to record a video click.

All Frederlyn Mayora’s events and presentations are in charge of her manager, Humberto Gonzalez, president of Producciones Salsayer.

A little bit of history

Frederlyn Alejandro Mayora Martínez, was born on July 27, 1982, in the populous Sucre Parish, west of Caracas, Venezuela.

He is a musician, singer and percussionist. At the age of 9 he began his musical studies, especially in percussion. He belonged to the estudiantina Héctor Pacheco and spent several years at the Bigott Foundation, where he received master classes with Professor Rodolfo González.

When Mayora turned 15 years old, he decided to focus his musical career as a singer and it is when the producer Humberto González, currently director of the Salsayer Orchestra, took him to sing in several salsa groups in Venezuela, among them, “Herencia”, “Neo Latino” and “El Combo Antillano”, among others.

In 2003 he moved to Spain, specifically to Galicia. There he became part of the orchestras “Panama”, “Filadelfia” and “Orquesta TV”, among others. His artistic commitments reached the beautiful city of Santander, located in the North of Spain, where he performed ballads, salsa and merengue.

In addition to the aforementioned orchestras, Frederlyn Mayora has been the lead voice in groups such as “Ekilibrio”, “La Junior”, “Mandinga Star Band”, “Puma Band”, “Patatín Orquesta” and the “Máquina de la Salsa” and has accompanied in the chorus, since 2002 to date, renowned singers such as “Maelo” Ruiz, José Alberto “El Canario”, Tony Vegas, Luisito Carrión and Charlie Aponte, former member of the Gran Combo de Puerto Rico.

Balance of the work carried out at the level of Social Media in Venezuela.

Publication of the Briefing

Noti-America (01-04-2022) Mexico

La Patilla (El Farandi) (02-04-2022) Venezuela

https://www.elfarandi.com/2022/03/30/briefing-vuelve-a-venezuela/

Notimundo (03-04-2022)

Press Conference

Day: Friday, April 8, 2022

Place: Doris Wells Hall of the Casa del Artista.

Attended by representatives from 10 media outlets and Instagram accounts. Examples: Venevisión, Portal La Patilla, Rumbas Venezuela, Intervez, Diario La Calle, Noticiero Digital, Analítica, El Universal, Tendencia Internacional and Radio Tiuna, among others.

Press releases published in digital media

Analitica.com (11-04-2022) Venezuela

https://www.analitica.com/emprendimiento/noti-tips/de-vuelta-al-barrio-toma-caracas-de-la-mano-del-salsero-frederlyn-mayora/

Tendencia Internacional (11-04-2022) Venezuela

https://www.tendenciainternacional.com/2022/04/11/de-vuelta-al-barrio-toma-caracas-de-la-mano-del-cantante-salsero-frederlyn-mayora/

Contraste Noticias Newspaper (12-04-2022) Venezuela

https://www.diariocontraste.com/2022/04/de-vuelta-al-barrio-toma-caracas-de-la-mano-del-salsero-frederlyn-mayora/

Vida y Arte (14-04-2022) Venezuela

http://www.vidayarte.com/farandula/cantante-salsero-frederlyn-mayora-esta-de-vuelta-al-barrio

Intervez (14-04-2022) Venezuela

Business and Destinations (15-04-2022) Venezuela

Cantante salsero Frederlyn Mayora regresa a Venezuela con “De vuelta al barrio”

La Calle Newspaper (17-04-2022) Venezuela

Mentions on Instagram accounts

@TendenciaInternalcional

@caracas_view

@augustofelibertt (Dj)

TV Programs, Portals and Radio

Wednesday, April 6, 2022

Venevisión, Channel 4. Presentation in the program “Sábado Sensacional” on the occasion of the 50th Anniversary.

Thursday, April 7, 2022

Globovision, Channel 33. Interview

Tuesday, April 12, 2022

Portal La Patilla. Interview. Broadcasted on April 20, 2022

Thursday, April 21, 2022

Program “Asi Suena”, Channel 8, with Rubén Jiménez. Broadcasted on Sunday 24-04-2022

Radio program 24-04-2022

“Ni tan Bravo”, with Isnardo Bravo. FM Center La Romántica 88.9 FM

This is a balance of the presence he has had in the media.

Wednesday, April 27, at 8:00 am, he was on Televen, Channel 10, in the program “Con lo actual”.

Sources

Salsayer Press Director: Yira Yoyotte, journalist. 0424-105-61-66. E-mail: [email protected]

Facebook: Frederlyn Mayora