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Search Results for: rhythm
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.

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.

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.

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.

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
Europe Festivals in September 2023
Tempo Latino: Creating Connections Through Music
An Interview with Eric, Founder of Europe’s Premier Latin Music Festival
On the last week-end of July, a festival celebrates Latin and Afro-Cuban music and brings thousands of music lovers to a small town in France. Eric, the festival’s creator, shares its origins, inspirations, and evolution.


Since its inception in 1994, the Tempo Latino festival has welcomed incredible artists to this small town in the Southwest of France.
Creating a Musical Oasis in Vic-Fezensac
Having lived across France, Eric settled in Vic-Fezensac, where he felt the need to create something beyond work. His passion for Latin and Afro-Cuban music led him to start Tempo Latino, aiming to provide what he missed – concerts of these genres.
A Journey of Music and Discovery
Eric’s radio inspiration and his love for vibrant rhythms ignited the idea for a music festival. He yearned to introduce others to the music he cherished, giving birth to Tempo Latino in 1994. The inaugural edition featured Fatal Mambo and Mambomania, attracting 2,800 attendees. Now the festival attracts over 10,000 people.
Eric’s selection process for artists is fueled by genuine connections, resulting in a diverse lineup that weaves different styles into a harmonious experience. His curation creates unique narratives each night. Pairing artists with contrasting energies, like Lila Downs and Cimafunk, creates a captivating tapestry that reflects the festival’s essence. Eric’s journey involves tireless pursuit and strong artist relationships. From Bernard Lavilliers to Excelencia, his commitment to music’s magic and meaningful collaborations remains steadfast.
A Melodic Journey Unfolds
The festival’s theme guides its trajectory, from Africa’s heart to New York’s energy. Lavilliers’ Paris and the Caribbean’s vibrancy unite through music, creating a diverse yet cohesive experience.
In a digital era, Tempo Latino reminds us of music’s power to unite. Eric’s dedication and knack for blending genres into harmonious narratives continue to resonate.
Tempo Latino: 28 Years of Latin Rhythms, Community, and Artistry
The charm of Vic-Fezensac, a small town in France, transforms every year as over fifty thousand people gather for the renowned Tempo Latino Festival. In an exclusive interview, Eric, the festival’s creator, discusses the intricacies of managing such an event in a local community and the relationship it shares with the town.


Local Community and Involvement
Eric sheds light on the local engagement, emphasizing that while not everyone participates, the festival is supported by some local partners. What brings him contentment is the transformation he witnesses each year as the town welcomes an eclectic crowd of festival-goers. The festival’s vibrant audience, composed of diverse backgrounds, gives life to the town’s streets and squares in ways that were once unimaginable.
Eric reminisces about the support he received from the former mayor, Jean Arnaud, whose open-mindedness and appreciation for the festival’s diverse attendees left a mark. Jean Arnaud’s encouragement and acknowledgment of the festival’s contribution to cultural diversity added an emotional connection between the festival and the town.
Fostering Relationships with Artists
Eric’s dedication to music and fostering connections with artists has been at the heart of the festival’s growth. He shares anecdotes about musicians like Oscar D’Léon and Celia Cruz, who have left an indelible mark on the festival’s history. These relationships, he emphasizes, are more than business; they’re rooted in mutual respect and genuine affection.


Overcoming Challenges
Throughout its 28 editions, the festival has faced numerous challenges, both financial and logistical. Eric reflects on early deficits, weather-related disruptions, and organizational intricacies. Each year’s success has hinged on meeting these challenges head-on, often pushing the festival to its limits.
The Ever-Evolving Vision
Eric’s vision for the festival’s future remains unwavering – bringing together people from diverse backgrounds through music. He acknowledges the changing landscape of music and dance styles, highlighting the importance of maintaining a balance between cultural integrity and evolving tastes.
Looking Ahead
With the 30th edition approaching, Eric envisions continued growth while staying true to the festival’s roots. He expresses his desire to bring acclaimed artists like La India and Carlos Santana to the stage, continuing the legacy of diverse and passionate musical experiences.
In the grand tapestry of the Tempo Latino Festival, Eric’s passion, dedication, and genuine relationships have woven together a cultural masterpiece. The festival remains a beacon of unity, showcasing the power of music to transcend boundaries and create shared experiences. As the festival moves towards its next milestone, it stands as a testament to Eric’s unwavering commitment and the enduring magic of Latin and Afro-Cuban rhythms.
Mark your calendar and plan your trip for the 2024 Tempo Latino on the last weekend of July 25 to 28, 2024.
[Read more…] about Tempo Latino: Creating Connections Through Music
José Madera Niño & his 3rd his World
Latin América / Venezuela / Caracas
José Madera Niño “The records and the radio were my first teachers”
Soon he will premiere his second production entitled Matices, with the promotional song Canta Sonero.

A creator, a great human being, this is José Madera Niño, this Colombian-Venezuelan musician, self-taught, percussionist, composer and plastic artist; who after participating in different groups decides to form his own Orchestra, José Madera Niño & 3er Mundo, assures that his passion for music began when he was very young, following the example of his father, uncle and his older brothers, defines his songs as “simple and diaphanous”. He confesses that our salsa genre, “needs to feed on new things, unpublished songs, in short, proposals, and that the music lover is the one who decides if it is good or not”; As the chorus of one of their songs says, let them be the ones to speak and express their emotions.
His first record production De amor, desamor y rumba, contains 8 songs, of which 6 are his own, with the participation of leading Venezuelan musicians; in this work he presents us with an innovative style, where he sings to love, to spite and invites us to dance to the rhythm of the conga that is in fashion. In each composition, everyday life is reflected, the adventures and misadventures that music lovers make their own, a work made of guava trees and poetic joys.
Soon he will launch his second record production with a very striking name; Nuances, something that in his words “makes him very happy”, where there is no doubt, his gift as an artist will be present and a motley of musicians with a great career who will put the final touch on his new production.
How did you start in music?
“I remember that at the age of seven, I was drawing a lot, on paper, on the walls and on whatever came my way. My older brothers already showed an interest in music, so instruments began to arrive at the house. While I drew they practiced and when they went to school I took possession of a drum and a radio, I tried to accompany all the rhythms I heard on the stations”.
Was your training professional or are you a self-taught musician?
“Autodidact. I entered the school of plastic arts, to study drawing and painting, at the age of fourteen. There I saw nine subjects, also I started at the high school where I saw nine more subjects, so there was no space to study music. I listened to a lot, yes. Records and the radio were my first teachers”.
Tell us about your experience with Orlando Poleo?
“In a self-taught way, almost without realizing it, I began to play with different groups and orchestras, I was already in trouble, so on the fly, I decided to take theory and solfeggio classes at the headquarters of the Musical Association. On a Caracas night I was playing with La Orquesta Ideal and there I met Williams Hernández -Percussionist and manufacturer of Latin percussion instruments-. It was he who recommended that I attend the workshop in Sarria where the teacher Orlando Poleo taught. The experience there at the beginning was a bit traumatic because although I already had time playing congas, I didn’t have the ideal technique. I had to get rid of what I learned on my own and put new ways into practice. It was not easy but I am very grateful to have passed through the school of Grand Master Poleo”.
Where does your musical vein and passion for painting come from?
“My father was a bolero singer back in his native Colombia, my uncle was a guitarist. That’s where the taste for music comes from.”
What motivated you to make your first production, in a market so Competitive and often poorly supported by the media?
“I was motivated by a passion for music and by that need to contribute at least one point of view, a way of doing things. For example, I think that this genre that we love, called Salsa, needs to feed on new things, unpublished songs, in short, proposals and that it is the music lover who decides if it is good or not”.
What is the reason for the name of the group; 3rd world?
“That’s where we are, that’s where we come from. This is how they classified the countries of our region and we assumed them without complexes or pride. I think it’s just a title that doesn’t detract from our ability to do great things. Baptizing the band with that name was an act of rebellion, it shows a little that despite many limitations we are capable of making quality music”.
Why the name De Amor, Desamor y Rumba?
“There were many hours of recording, then editing, then came the art of the album and when we were already finalizing details, a doubt assailed me, I thought: Isn’t the selection going to be very rockolera? I started to review the production and I realized that it was balanced. We sing to spiteful love and I think it’s very danceable. From there the title was born: “Of love, lack of love and rumba”.
What inspired you to write 6 songs of your first production?
“The need to do unpublished things, on the other hand I didn’t know so many composers who wanted to risk their songs in a novel production. The language of my songs is simple and diaphanous”.
Which of the themes do you identify with, and why?
I like them all.
How would you define the 3rd world style and how do you get there?
“It’s just Salsa, without a “surname”, as it was before. It’s not erotic Salsa or hard Salsa or Nothing Salsa… Just dance music”.
Any relationship with the percussionist José Madera -the one from Tito Puente-?
“Only immense admiration for his work and the fact that like him I play percussion and have the same first and last name.”
Have you ever been interested in another musical style?
“I listen to almost everything and in my career I have had the opportunity to play other popular music rhythms such as merengue, cumbia, vallenato.”
An artist you admire?
“There are many whom I admire, it would be unfair to name just one.”
What inspires you to write a song about love or heartbreak?
“Both, in addition to the simple, everyday things.”
Define yourself in one sentence?
Creator
How does the soul see through painting or music?
The soul sees and manifests itself in the purest and most honest way through art. Call it painting, music or another related manifestation.
Tell us about your 2nd production, who participates in it?
This is something that makes me very happy because we are giving the last brushstrokes, soon, very soon my dear friends will know about this work. There are many guests.
Why nuances?
Precisely because of the variety of its guests.