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Versatile multi-instrumentalist, producer and arranger, Taylor Aranguren

In Barquisimeto, a city catalogued as the musical capital of Venezuela, there are musicians of excellent quality and one of them is the versatile multi-instrumentalist, producer and arranger, Taylor Eduardo Aranguren García, a young man born in the aforementioned city on August 2, 1991.

Taylor plays piano, bass and trumpet to perfection. His musical beginnings were in 2003 and in 2005 he had the great honor of joining the Lara State Symphony Orchestra, accompanying the “Sonero del mundo” Oscar D’León in a concert held at the “Coliseo Hípico” of the twilight city of the country.

Then in 2005, he makes artistic life in Puerto la Cruz, Anzoátegui state; in 2007 he moves to Colombia, in 2009 he returns to Caracas as a member of the Staff of the television program “Súper Sábado Sensacional”; then in 2010 he travels to Beijing to perform musical works, later in 2012 he accompanies Maelo Ruiz on a tour of Venezuela, later he is contacted by the Band of Benjamin Rausseo, humorist known as “Er Conde del Guácharo”.

In 2014 he joins Óscar Arriaga and Néstor Rivero ex-vocalists of “Los Adolescentes”, directing them as musician and arranger and additionally they record with the musicians: Diego Galé, Ytúrvides Vìlchez, Franco Lemus and Freddy González, achieving successful concerts in countries such as: Dominican Republic, Peru, Colombia, Chile, Ecuador, Panama, United States, Mexico, Italy, Germany and Spain.

And with this preamble of his artistic career, consequent readers, we welcome again, to the column “Salsa Escrita” to one of the best musicians of our country.

Greetings Taylor, it is an honor to have you as a special guest in International Salsa Magazine, “the Only Salsa Magazine in the World”.

Thank you Professor Carlos, for giving me the opportunity to be in your well read column “Salsa Escrita”, through this prestigious media and to be able to interact with all readers nationally and worldwide, making known my projects and part of my artistic life.

Taylor to begin with, we want you to tell us about your role as an arranger and to which artists you have done your musical works?

Ok my friend Carlos, let me tell you that I was arranger and musician in the production “Quintero Salsa Proyect” with the Quintero brothers (Luisito and Roberto Quintero) on that occasion with the song “Chamito Candela”, performed by Gustavo Aguado and Luis Fernando Borjas of Guaco, I also had the pleasure of arranging the song “No lo Beses” in the voice of my uncle Jorge Luis Suarez (former singer of Oscar D’Leon), also the song “Chismoso” by Marcial Isturiz; “Te Quedas” interpreted by José Alberto “El Canario”, in the same way “Te amo y punto” with Óscar Arriaga, I also made arrangements for the last movie of “Er Conde del Guácharo” and many more that at the moment do not come to my memory.

Very good Taylor, Congratulations, but we are curious to know in which facet you feel better, as a musician or as an arranger?

Professor, it is different to feel as an arranger, it is cool because it is a work or a child that comes out of your guts, it is something that you create, it comes from you and you enjoy it a lot, but playing live is a feeling in the moment, you know, enjoy the stage, the musicians, but I like the recording more, both for me are super important.

Excellent, now which singer, arranger and percussionist would you like to record and play live with?

Well, as a singer would be Oscar Arriaga, in percussion, Luisito Quintero and arranger I would like to share with Oscar Ivan Lozano, a great brother from Colombia, director and arranger of “Grupo Niche”.

Taylor, can you tell us about the work you have been doing with the ex-vocalists of Adolescentes Orquesta?

Actually I am working sporadically with some of them and right now I am in alliance with former teenagers from Venezuela who are currently based in Bogota and God willing at the end of July we will be touring throughout Colombia.

My friend Taylor, do you have planned this year some shows where you accompany as a musician to some recognized artist?

Well yes brother, in mid-July I will be accompanying Andy Montañez and Maelo Ruiz in Buenos Aires – Argentina and then I’m going to Uruguay with my project Taylor Aranguren to a concert in the city of Montevideo.

And in relation to the recording of the video, “Taylor Aranguren and his Venezuelan salsa” which would be captured for DVD format and would be recorded in Barquisimeto and where they would be invited figures such as: Luisito Quintero, Roberto Quintero, Edward Montoya, (Willie Colón’s trombonist), Rónald Borjas, Rónald Gómez, Jorge Luis Suárez, Wilmer Lozano, Toñito León “El Bebé Salsero”, Marcial Istúriz, Hildemaro, Mariana “La Sonera de Venezuela”, among others; it is still standing? Tell us:

Let me tell you professor Carlos that for reasons of the pandemic everything was suspended and thanks to God I already have almost certain date between November and December of this year 2022 and we will record it in the city of Sol Miami – Florida and the reason for the change of city is because of the ease that almost all the artists and musicians are there and the logistics and sponsorship is broader, many producers have been interested and for that reason, it is less expensive and after that recording I am committed to do a concert with them in the city of Barquisimeto.

My friend Carlos, I take this opportunity to tell you that in August I have a tour in Europe with Maelo Ruiz and David Pabon but I am waiting for the confirmation of my friend also from Lara, Yomar “Caballito” Mendez and for my album that will be released with God’s favor at the end of the year, Rónald Borjas has already recorded, Óscar Arriaga, Néstor Rivero, Benjamín Rausseo, Erick Franchesky, Luis Matheus from Colombia, Rodrigo Mendoza, Sócrates and soon Oscar D’León, and I am also making some arrangements for Luis Fernando Borjas ex Guaco.

Excellent Taylor, we would like to know your social networks and also wish you the best of success and many blessings for exalting and putting up the name of our country outside our borders, demonstrating your quality as a musician; you know that you always have our support in all projects you undertake in your artistic career.

Thanks a thousand, my friend Professor Carlos Colmenárez and INTERNATIONAL SALSA MAGAZINE through www.SalsaGoogle.com for giving me the support not only to my person, but also to many artists of Venezuela that day by day we work for our Latin music, also on behalf of this server Taylor Aranguren, I wish you the greatest success in your work and continue to make us known worldwide, to finish you can follow me through @Taylorarangurenpiano.

Hasta la próxima y sigamos salseando!

Article by Correspondent: Carlos Colmenarez

Severino Ramos, the true architect behind the legendary group “Sonora Matancera”

From 1940 to 1957, he was in charge of the arrangements, rehearsals, repertoire, hiring of the vocalists and that very particular sound, so imitated but never equaled that the “Dean of the Conjuntos” possessed.

All that sonority is due to this pianist, composer and arranger born in Matanzas, Cuba, on June 2, 1903.

Severino Ramos Betancourt was born on June 1, 1903 in Matanzas, Cuba. He was a composer, pianist, orchestrator and arranger, one of the great Cuban musicians, he worked as pianist and arranger in the Conjunto Sonora Matancera, later he founded the Sonora Cubana.

Since he was a child, music, musicians and instruments were his passion. In his family, grandparents and uncles, had to do with the bungas of Matanzas (a bunga was a small group that included piano, violin, clarinet and flute). As a child he met Cheo Jiménez and Eduardo Betancourt, trombonist of Miguel Failde’s orchestra.

Later he went to Havana where he worked successively as a tailor’s assistant, insurance collector, doorman in a cabaret, traveling salesman, substitute musician in theaters, radio stations, and a thousand other occupations that appeared along the way before becoming a professional musician, during that time he received lessons from Felix Covarrubias.

Sonora Matancera

Severino Ramos joined the famous Conjunto Sonora Matancera in 1942, as a pianist, after unsuccessful attempts to occupy positions in the Sexteto Mikito (later Conjunto Casino), replacing Enrique Rodriguez, and in other Havana groups.

Severino’s character does not go with the style of intense and nocturnal work of the group, presentations in radio stations, dances (preference of Rogelio Martínez its director), contracts in La Tropical, Cabaret Tropicana, regional Centers: Asturian Center, Galician Center and trips to provinces; so he decides at the request of the director of the Sonora to look for another pianist for the group and he stays to make the arrangements, rehearsals, preparation of repertoire, etc…, From that moment on, the star of the Conjunto Sonora Matancera really began to shine in the firmament of popular acceptance.

He became, in keeping with his calm character, an orchestra man performing all these tasks and some others, such as visiting radio stations, theaters and other places to obtain contracts for the group.

The fruits contributed by Severino Ramos between 1940 and 1957 are of extraordinary value, perhaps what makes his work more visible are his arrangements and the preparation of the regular and guest singers that accompanied the Sonora such as: Bienvenido Granda, Daniel Santos, Myrta Silva, Celia Cruz, Leo Marini, Bobby Capó, Nelson Pinedo, Estanislao Laíto Sureda, Carlos Argentino and Celio González, among others.

After the Sonora Matancera

The last days of Severino Ramos in favor of Cuban Music were as musical director of Radio Progreso since 1957, when he left the Sonora, simultaneously with the prolific and very important work at the head of the many record labels he created.

After 1959, in that first decade, 1960, many record labels emerged in Havana, plus those that came from before and he multiplied himself making arrangements, forming momentary groups, forming groups to accompany Orlando Contreras, Blanca Rosa Gil, Orlando Vallejo, Ñico Membiela, many more. He formed the Sonora de Severino Ramos and helped create the Conjunto Caney.

The following is a small sample of songs that were arranged by Severino Ramos for the Sonora Matancera:

El Tíbiri Tábara with Daniel Santos

Qué corto es el amor, with Mirtha Silva

Burundanga, Yerbero Moderno, Tu Voz, Luna sobre Matanzas, with Celia Cruz

Who will be? With Nelson Pinedo

Yo no soy guapo with Vicentico Valdes

Sujetate la lengua, with Bienvenido Granda

Aunque me cueste la vida, on the 19th, El negrito del Batey with Alberto Beltrán

El gallo, la gallina y el caballo with Manuel Licea

Piel Canela with Bobby Capó

Maringá, with Leo Marini

Who will it be? With Nelson Pinedo

Las Muchachas, with Carlos Argentino

Translated with www.DeepL.com/Translator (free version)

Severino Ramos died in Havana on November 2, 1969.

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Jazz, soul and rap singer Danay Suárez has an incredible talent

Cuban talent for the world

Danay Suárez (https://www.facebook.com/danaysuarezoficial) is a Cuban jazz, soul and rap singer who has achieved a lot of international notoriety in recent years thanks to her talent and dedication in each of her musical works. We are honored to talk to her and this is what we asked her:

Danay Suárez has given concerts in many cities of the United States and Europe

Questions for Danay Suarez

I have been able to see that you are a self-taught artist. Would you say that your musical progress was to do with ear or do you already have any formal education related to music?

I was trained as a lyric singer by one of the most important musical theater companies in Cuba (Opera de la Calle). My training involved rhythm, harmony, music theory and acting classes. Most of my musical progress is to do with living my career, improving my thoughts, stage, recording studios, reaching culture, entering various musical genres and meeting and collaborating with musicians from around the world.

You’ve gone into jazz, soul, reggae, traditional Cuban music and hip hop. However, it can be said that you started with socially conscious rap and were even called “The queen of Latin rap”. Did you experiment with all these rhythms and genres at the same time or in stages during your career?

I sing several genres because I am not static or orthodox, creativity inspires me, I need to move my ideas and explaining them with rhythm is a great and good challenge. Which is why I combine the freedom delivered by jazz gives to move the words and the possibility afforded by rap to create a speech with creating pleasant and danceable moments, perhaps alluding to reggae because this genre allows you to intellectualize while dancing. I listen to a lot of music and think I might go to new places and be inspired by new sounds.

Danay Suárez has been known as The Queen of Latin Rap

We saw a spectacular video of you singing your song “Yo Aprendí” with The Kennedy Center Orchestra. How can two seemingly different genres join in something so special? Tell us how was that experience, how they became interested in you for that project and how these musical elements came together.

I don’t think two different genres came together, my arrangement for the symphony was very similar in its harmonic and melodic base. Making art and taking all the things we do to a level of excellence is what makes the worlds integrate and complement each other without being forced. For me the symphony is the complete picture, I place a high value on my words and I think many of them are divinely inspired, visual, parables, timeless most of the time. Sometimes I feel that only a symphony can support them at the highest level. Living my lyrics as I have imagined them is a dream come true, a dream fulfilled I want to repeat many times.

You have made music for Netflix and already some video games. How did they come to you? Why do you think they became interested in your music?

Together with my publishing company Kobalt Music, I was given proposals on synchronizing such as these video games, series, and some offers I’ve refused because I belive that they do not build anything of value that can be linked to the message of my songs. You never know what makes people connect with my music, but they can be the rhythm, the word, or the artist.

This Cuban singer has made music for Netflix and video games

Last year, you released your album “Vive”, which is very different from what you have been doing and come any closer to Christian music.

“Vive” is a thoroughly evangelical album because it was born in a period of deeped intimacy with the Lord, all my work is partly biographical and a portrait of the moment I’m living or I got over it, so I can already it. Those who know my work can see the sincerity through the music of each stage I’ve lived. At the end, the most honest approach I can offer to my music is my own testimony.

You have been in the United States and several European countries. How has been the responses of your music been in all these places? How are you perceived there?

The reception has always been extraordinary, people cry at my concerts and I know it’s because they listen to any advice that can transform their lives, they have a vivid and real moment, which is sealed with values that make good. That motivates me to always bring life to my people with the songs, I know that there is a thirsty world from which I’ve been part and that’s why I do not take lightly to make music, I do not even treat it strictly as a business. What I do is I finance my music through other businesses to allow me do things correctly. In the case of the non-Spanish speaking public, my answer is that music is a universal language that is felt and enjoyed in the same way when it’s genuine.

Danay Suárez next to Colombian singer Juanes

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Businessman, producer and broadcaster Jimmy Castro promotes his Ritmo Caribe Promotions Radio

Jimmy Castro and his radio station Ritmo Caribe Promotions Radio

We had the pleasure of interviewing businessman, producer and broadcaster Jimmy Castro, who started his radio show “El Toque Latino” on radio station WTCY 1400 AM from 1998 to 2002 in Harrisburg, Pennsylvania. He then worked as a producer on “The Latin Jazz & Salsa Show” in Richmond, Virginia on station WCLM 1340 AM between the years 2008-2014. He eventually launched his own online Radio station Ritmo Caribe Promotions Radio in 2018 through the link www.ritmocaribepromotionsradio.com. Here, listeners can find salsa, Latin jazz and Afro-Cuban music.

Producer, promoter, and broadcaster Jimmy Castro

Here is our conversation:

You founded Ritmo Caribe Promotions in 1998. What made you found this company and why focus on setting up festivals and concerts?

I started the company as a DJ Record Pool called Caribbean Rhythms Record Pool in 1996 in Harrisburg Pennsylvania. I began meeting many of the artists that I was receiving music from, who began asking me if I would bring them to Harrisburg, Pennsylvania to perform. That’s when I changed the company name to Ritmo Caribe Promotions, and produced many concerts and festivals there featuring artists to include Larry Harlow, Tito Puente, Cano Estremera, Hector Tricoche, Van Lester, Miosotis, Edgar Joel, Yomo Toro, Eddie Palmieri, and more.

Why focus specifically on salsa, Latin jazz and Afro-Cuban music?

I used to promote more genres when I began such as Merengue, Bachata, Reggaeton, and Mexican but as the years went on it began getting more difficult because I was receiving so much music but I had a limited staff to and wouldn’t be able to focus on so many artists. I decided to limit it to the genres I had the most experience in.

Jimmy Castro while leading his old show “El Toque Latino”

I knew that Ritmo Caribe Promotions has co-produced songs by several well-known artists. Let’s talk a bit about your role as producer and record label.

Throughout the years, I have always dreamed of producing a Salsa song with my company. In 2020, I had the opportunity to co-produce my first Salsa song with JA Creations entitled “Mariana” by Colombian Salsa vocalist Jaime Andres featuring Frankie Vazquez “El Sonero del Barrio!” Since then I have co-produced 3 more Salsa tunes, “Nuestro Camino” by Leonardo Garcia featuring country vocalist Cat Beach, Max Rosado, and special guest Nestor Torres, “Mi Motivo” by Leonardo Garcia featuring Grammy nominated Miss YaYa, and “Lo Afortunado Que Soy” by William Mendoza’s Latin Heartbeat Orchestra featuring Cuban vocalist Amauri Menocal. Finally, on August 15, 2022 I will be releasing my first Salsa tune as Executive Producer entitled “Historia de Un Amor” featuring a vocalist from The Netherlands, Julie Huard.

What leads you to launch your own online radio station in 2018?

I started in radio broadcasting in 1997 with my own radio show called “El Toque Latino” on a commercial radio station, WTCY 1400 AM in Harrisburg, Pennsylvania. I was on the air for 5 years. I then moved to Richmond, Virginia where I worked as a producer on The Latin Jazz & Salsa Show on WCLM 1450 AM / WHAP 1340 AM for 8 years. I was also the entertainment producer for 10 years for the annual Latin Jazz & Salsa Festival, with The 15th Annual Latin Jazz & Salsa Festival scheduled this year on August 27th, in which I will be bringing headline artist Herman Olivera.

Finally, in 2018, I no longer was interested in working on everybody else’s radio station, and decided to launch my own 24/7 internet radio station, Ritmo Caribe Promotions Radio, where I am able to program exactly the way I want to. www.ritmocaribepromotionsradio.com.

Jimmy Castro with the “King of Timbales” Tito Puente

You have also produced theatrical plays and film productions. Give us more details about that.

The play I am most proud of was produced by my company Ritmo Caribe Promotions and Yamile Music (Los Angeles) entitled “Melena: A Cultural & Musical Journey into my Afro-Cuban Roots” which was the true story of Afro-Cuban latina percussionist Melena, and her journey from Cuba and becoming one of the best female percussionist in the world. You could check out the play in 3 parts on YouTube by searching for “Melena: A Cultural & Musical Journey into my Afro-Cuban Roots (Part 1, 2, and 3).”

You also receive music in mp3 format from the audience to place on the station. What basis do you have for choosing between the tracks you receive?

I accept music from artists from around the world, again Salsa, Latin Jazz, and Afro-Cuban music, and I listen to all the music I receive and focus on the quality of the production, ensuring I receive mp3/wave along with the album cover image, and last but not least the music has to be GOOD! I also send it to many Salsa dancers who I am connected with to get their opinion on the tune.

What you can say about your show “El Toque Latino”? How has this show changed with the passage of time?

I mentioned “El Toque Latino” in a question above, however, this show is no longer on the air. Now, it is only “Ritmo Caribe Promotions Radio” 24/7 at www.ritmocaribepromotionsradio.com.

Jimmy Castro with Puerto Rican salsa singer Cano Estremera

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In Barrio Marianao in Havana, Cuba was born Armando Peraza was a Latin jazz percussionist

Peraza (May 30, 1924-April 14, 2014) was a Cuban Latin jazz percussionist.

Thanks to his collaborations with guitarist Carlos Santana, jazz pianist George Shearing and vibraphonist Cal Tjader between 1950 and 1990, he is internationally recognized as one of the most important figures in the field of Latin percussion.

Known primarily as a conguero and bongocero, Peraza is also a skilled dancer and composer. He has appeared on recordings by Pérez Prado, Machito, George Shearing, Charlie Parker, Tito Puente, Cal Tjader and Carlos Santana. Performances with Santana, Shearing and Tjader brought him international fame.

He was inducted into the Smithsonian Institute and had three “Armando Peraza Days” from the city of San Francisco.

One of the most important and respected figures in the world of percussion.

He is a legendary master on both congas and bongoes, whose unorthodox style and story are an inspiration to countless young musicians.

He began his artistic career in the early 1940s, played with singer Alberto Ruiz’s Kuvabana ensemble where he played the bongo and moved to San Francisco in 1949.

At the New York World’s Fair he played congas in an African pavilion with a Nigerian.

This African arrives and says to me: “Man, what part of Africa are you from? I told him, I am from Cuba. He said: “Don’t tell me” He later worked with the orchestras of Paulina Álvarez and Dámaso Pérez Prado, and the Bolero group.

In 1947 he moved to Mexico, where he joined with Mongo Santamaría the ensemble Clave de Oro, and in 1948 they both traveled to New York as percussionists accompanying the dance couple Pablito y Lilón.

At the end of that year, Peraza joined Slim Gaillard’s jazz combo with which he traveled throughout the United States. After arriving in New York in 1949, Armando became a sought-after musician, especially in the contemporary Bebop and Latin Jazz scenes.

Armando built a reputation for impressively fast and complex hand technique, experimental techniques and great talent for entertaining. He flourished in progressive atmospheres that combined jazz with Afro-Cuban styles and was at the center of a new expression called “Cubop”.

He has played on more than 100 albums and is the composer of more than 40 songs. Some of these works include collaborations with Mongo Santamaria, George Shearing, Cal Tjader and Carlos Santana.

Settled in San Francisco, California, in the early 1950s, Peraza began working with pianist George Shearing’s quintet, where he demonstrated his mastery as a player of the tumbadora and bongo; also in this period he recorded several albums of Cuban folk music with Mongo Santamaria.

In the 60’s he joined the quintet of vibraphonist Cal Tjader, with whom he remained for several years and with whom he popularized Chano Pozo’s Guachi guaro. In the 1970s, he joined Mongo Santamaría’s orchestra, with which he participated in the Montreaux Jazz Festival in Switzerland.

Later he worked with Carlos Santana’s rock band, in which he remained for 17 years, until his retirement from artistic life in the 90s.

He possessed a great capacity to obtain the most unusual sounds of the bongo and the tumbadora, and distinguished himself for his extraordinary solos on both instruments.

He died on April 14, 2014 in California, United States, as a result of pneumonia.

Fuente: https://kripkit.com/armando-peraza/