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

Henry Benavides, arranger, composer, pianist and producer of tropical music with emphasis on Salsa, was born in Barrancabermeja, Santander, Colombia.

In York, NY March 31, 2023 ‘Por Cuenta Propia’ is the name of Henry Benavides’ new project, with which he wishes to elevate his musical career. The Colombian composer, pianist, arranger, and producer of tropical music pays homage to great artists of the industry with his new album.

“The production is inspired by the great salseros who inﬂuenced my musical beginnings, such as Richie Ray and Papo Lucca.

The songs I chose marked my childhood, and in my new album I seek to give it a modern and different touch with my arrangements,” shares Benavides.

Henry Benavides sorprende con “Por Cuenta Propia,” su nuevo proyecto

It is worth noting that the album is musically diverse. Despite being known for revolutionizing the tropical industry, Benavides shows us that even playing boleros, he is capable of transforming and creating new stories.

‘Por Cuenta Propia’ will be available through all digital platforms starting April 21, 2023, and you can already pre-order it through Spotify.

This project symbolizes the convergence of past stories and new rhythms. At the same time, Benavides is preparing for his upcoming Latin American tour this summer.

About Henry Benavides

“Henry Benavides is a Colombian tropical music composer, pianist, arranger and producer whose focus is on modernizing great salsa songs and giving them a new style. Benavides has had the opportunity to work with the ‘Discos Fuentes’ record label in Medellin, Colombia, where he collaborated with internationally recognized artists. As a member of the new generation, his mission is to modernize the salsa genre and share with his style, a new way of making salsa”.

Henry Benavides, arreglista, compositor, pianista y productor

Henry Benavides, arranger, composer, pianist and producer of tropical music with emphasis on Salsa, was born in Barrancabermeja, Santander.

He inherited from his grandparents the taste for music, at the age of 12 he began to play the drums induced by his father.

He graduated as a high school graduate from the industrial technical institute in the year 2000, and by then he already had clear what would be his life project, to live for music.

He decided to travel in 2002 to Pamplona, Norte de Santander, where he settled and enrolled in the university of this same city in the Faculty of Music to formalize his musical studies.

Shortly after entering the school he stood out among his classmates for his great talent. He was a member of the Big Band Oriol Rangel of this institution, being in his seventh semester, his teachers tell him that the knowledge he has acquired so far is the necessary, and that he really has nothing to do there, with the great talent he has, and they suggest him to go out to the arena! What prompted this Barranqueño to undertake his audacity in 2005 and decided to seek opportunities in the city of Medellin.

There he began working with Jhon Jairo Betancur making tracks and karaokes of salsa, merengues, ballads and vallenato, for Discos Fuentes recording pianos and then produced them, being in charge of everything for 2 and a half years, time that was enough to make known his talent which gave him the opportunity to work with the master Alberto Barros in the musical direction of the tribute to the Colombian salsa, and zone three, and to make a production for Panamanian singer Gabi Gabi Gabi.

production for the Panamanian singer Gabino Pampini, Sonora Carruseles, among others.

In 2009, he was invited to record in the city of Cali, an opportunity that he did not miss to seek new alternatives in his career and decided to seek the maestro Alexis Lozano, director of the orchestra Guayacán, to show him his work done during all these years.

He was lucky enough to meet him, and show his talent, which led to an exchange of knowledge and great musical connection between the two and immediately Alexis made it concrete and proposed him to produce music immediately.

In 2012 he directs and produces for Sony music in Mexico, the DVD “La Salsa de los Grandes”, a tribute to the Fania All Stars, with the participation of the best singers and musicians of the world salsa. Considered this work as the most representative of his career for having obtained GOLD and PLATINUM DISC, becoming the only Santandereano to obtain historically this recognition.

In addition to this, he was the author, composer and producer of songs such as YO SOY BARRANQUEÑO, where he pays tribute to his hometown, and EL HINCHA NÚMERO UNO, a song dedicated to his alma team, Alianza Petrolera.

She currently has a music production company, where she makes local, national and international productions, and at the same time has formed her orchestra, with musicians representative of her city, with which she has had the honor of being the only one to accompany an international artist, this being another historic achievement.

In this year 2020 he will launch his new production, entitled “Mi Vida”, which contains 10 unpublished songs of composition, arrangement and production, a dream that began 10 years ago and will close a very important cycle in the life of this young and talented artist.

Among other projects, he is the Musical Director of #salsagang, a project to promote new talents that is currently focused on the Mexican market, as it is one of the most important places for tropical music.

Henry Benavides through his extensive experience and professionalism, has positioned himself as one of the best salsa musicians and producers in the country.

All the productions mentioned above, can be found on the web and social networks.

Yoly Terán

610.348.9700

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Henry Benavides

La Dimensión Latina is a Venezuelan salsa group founded in 1972 and still going strong today

The original members Oscar D’ León, César Monges “Albóndiga”, José Antonio Rojas “Rojitas” , José Rodríguez “Joseíto”, Elio Pacheco Jesús “Chuito” Narváez (R.I.P). And later Carlos Guerra.

César Monge, trombone player, after graduating from the Escuela de Bandas Militares, was part of the orchestras “La Tropicana de Eldy Tor” and “Los Mundiales” and “Swing Latino”.

Victor Cuica, a saxophone player, knew him from those musical steps.

Oscar León had just bought a car with which he used to be a cab driver, but with a great love for music.

León wanted to create a musical group and gave Cuica the task of recruiting musicians from the Escuela Superior de Música, where Cuica was studying.

La Dimensión Latina es una agrupación de salsa venezolana fundada en 1972 y sigue vigente

That orchestra was called “Oscar y sus estrellas”. César Monge played in that orchestra for a while, until musician Federico Betancourt, director of his group “Federico y su Combo”, hired him.

From there, Monges moved on to the orchestra “Los Dementes” of musician Ray Pérez and later to “Los Satélites” of “Cheché” Mendoza.

While playing with this orchestra, in the Caracas night club La Distinción in the urbanization El Rosal, a disagreement arose between the owner of the orchestra and the owner of the club.

León took advantage of the incident and decided, together with Cuica and Monge, to reestablish his group. Cuica, inspired by the name of the successful American group The 5th Dimension, suggested calling it Dimensión Latina.

La Dimensión Latina es una agrupación de salsa venezolana

Then León took a square and drew the logo with which the group was launched.

It was formally created on March 15, 1972 in a first rehearsal in La Guaira, at the home of the pianist Enrique (Culebra) Iriarte. It was formed by Iriarte on piano, César Monge (Albóndiga) and José Antonio Rojas (Rojitas) on trombones, José (Joseíto) Rodríguez on timbales and bongo, Elio Pacheco on tumbadoras and Oscar León, renamed Oscar D’León on bass and in the role of singer.

They made their debut as Dimensión Latina at the same venue La Distinción. The repertoire was based on songs by Mon Rivera, Eddie Palmieri and Willie Colón.

Several nights the establishment was frequented by Victor Mendoza, singer and musician founder of Trio Venezuela and by then hired as music producer by the Top Hits record label, who had a band called “El Clan de Victor”, which had to produce an album per year. Mendoza motivated the musicians and they did two musical auditions.

José Rodríguez, who had some money saved due to his work as a musician and motorcyclist, arranged for the recording at Estudios Fidelis with a song by Elio Pacheco and another by Oscar León. These tests were not to the liking of the label owner.

This discouraged Enrique Iriarte, who promptly left the group. His place was taken by pianist Jesús “Chuíto” Narváez. Despite the label’s refusals, Víctor Mendoza wanted to record them and decided to include them in his production of “El Clan de Víctor” in 1972.

The sextet’s first hit was “Pensando en ti”. Mendoza then suggested Oscar León the artistic name of Oscar D’León.

During 1973 they recorded their second album, called “Dimensión Latina” where he gained recognition and participated in important events, such as tours of Curacao and the carnival of Maracaibo, launching their third album “Triunfadores” from which the second hit of the orchestra “Qué Bailen Tós” was released.

In 1974 the bolerista from Caracas Wladimir Lozano joined the orchestra, who had been working in night clubs in Caracas along with the harpist Ramón Hernández.

Wladimir gave the group more interpretative depth, achieving the duo Oscar and Wladimir, which gave birth to important interpretations and commercial successes that earned the band international recognition.

The highlight of Lozano’s entrance was “La Piragua”, a song that reached the top of the radio charts.

By 1975, La Dimensión Latina enjoyed the support of the public, who enjoyed their performances on television and being the image of commercial products.

A new album arrived, “Dimensión Latina ’75”, and with it came their consecration, for some critics the most successful and iconic. It included songs of extraordinary commercial success such as “Taboga”, “Parampampam”, “Mi Adorada”, “Cañonazo”, and a song by Oscar that was included as filler but would become the best-selling single in their history, “Llorarás”.

This album catapulted the orchestra’s career and gave it a place of recognition in the salsa world that, at that time, was almost reserved for the orchestras of the New York salsa boom.

Musician Carlos Guerra joined the orchestra on trombone, increasing the number of trombonists to three.

Subsequent productions included new commercial and interpretative achievements such as “Dolor cobarde”, “El frutero” and “Dormir contigo”. After their presentation in the United States, La Dimensión produced the album “La Dimensión Latina en Nueva York” (1976), which would be the seventh and last album of the orchestra with Oscar D’León, who would leave the group to start a successful solo career.

In the absence of Oscar, La Dimensión Latina calls, at the suggestion of Joseíto Rodríguez, the well-known guarachero and gaitero from Zulia Argenis Carruyo, who had been a member of Super Combo Los Tropicales and Guaco, for the recording of the album “La Dimensión Latina ’77 Internacional” and bassist Gustavo Carmona.

That same year, thinking of continuing to blaze trails abroad, they thought of a voice of international stature, and it was the Puerto Rican musician Roberto Roena who suggested the famous Puerto Rican singer Andy Montañez, lead singer of the Gran Combo de Puerto Rico.

Montañez was tempted by an extraordinary contract. Along with Montañez, the Zulian singer and sonero Rodrigo Mendoza joins the band and for the first time La Dimensión has three voices in its cast.

On November 11, 1977, La Dimensión Latina headlines the “Salsa International” festival at Madison Square Garden in New York, organized by Ralph Mercado and with the presence, among others, of Wilfrido Vargas and Cheo Feliciano.

Andy Montañez remained with the orchestra until 1980, recording eight albums, including hits such as “El Eco de un Tambor” by maestro Tite Curet Alonso, “Linda Minerva” sung as a duet with Argenis Carruyo, “Ave María Lola”, “Por el Camino”, “Mi Bombolaye”, and Puerto Rican contributions such as “Cantante Errante” by composer Johnny Ortiz and “Quisiera Saber”.

Rodrigo Mendoza managed to create hits such as “Fanfarrón”, “Córreme guardia” and “Suena el cuero”.

The orchestra also included Colombian pianist Samuel del Real, percussionists Carlos (Pacusso) Guillén and Luís Machado and the voices of Cheo Valenzuela, Alexis Martínez, Luis Arturo Guaramato and Alex “Mostaza” Vargas.

Cuatro décadas después y unidos por la salsa el Reencuentro del año Oscar D’ León y La Dimensión Latina

Four decades later and united by salsa, the reunion of the year Oscar D’ León and La Dimensión Latina.

Poliedro de Caracas

Only Invershow makes it possible

Venezuela this May 12, 2023 we will live something “HISTORIC”, and you can be present at this iconic reunion.

From seeing them together again to dancing and singing to the rhythm that only they can achieve.

It will be an unprecedented concert, don’t let them tell you about it and buy a ticket to live it YOU.

Será Un concierto sin precedentes, no dejes que te lo cuenten y compra una entrada para vivirlo TÚ

“The important thing is to maintain the style of the orchestra. The singer here has to adapt to the orchestra, not the orchestra to the singer. Whoever comes to sing has to adapt to the repertoire and to our way of doing salsa, which is very peculiar. We have a unique sonority”.

César Monge, Albóndiga.

Visit: La Dimensión Latina S.R.L

Fidel Antillano “The greatest satisfaction of a musician is to finish a quality product and see the acceptance of the public”

Latin America/ Venezuela / Caracas

Salsa is an expression of life within the caraqueño and Latin American neighborhoods. This fusion of rhythms has known how to slip in and no one escapes its magic and enchantment. Such is the case of pianist, composer and arranger Fidel Gregorio Antillano, born in the city of Caracas on June 10, 1962 and raised in one of the city’s sound districts, Los Frailes de Catia, where he lived surrounded by salsa groups, street performers, carnival and Christmas parties, enjoying the golden age of the salsa boom.

Fidel Antillano - Photo — Fidel Antillano – Photo

This genre influenced his destiny and allowed him to make it his way of life. Salsa is a cultural condiment with the flavor of many countries, which has managed to transcend borders.

Almost always at home the musical vein is lit. Was this your case?

“There was influence from my relatives, in my house there was always music, it was like a big jukebox, La Billos, Los Antaños del Stadium, la Sonora Matancera, Barbarito Diez, Casino de la Playa, among others, my grandmother lived in El Retiro, in La Pastora, she had a piano, when I went to visit her with my dad, I sat at the piano and I liked what I felt, music was part of my family, my dad was a great music lover, he bought all kinds of records, classical music, Creole music, tango”.

Did your grandmother or your father play the piano?

“No, my grandmother Gregoria “Tata” -we called her that because of our affection-, she was an amateur but she did not play it, she had it as a reference, she played cuatro, my uncle also played cuatro and guitar, my father did not play anything, he bought many Lps, given the house we had -the piano was a kind of furniture that embellished and gave cache to the house-“.

Family photo of Fidel Antillano's uncles Isaías, Pablo and his grandmother Tata — Family photo of Fidel Antillano’s uncles Isaías, Pablo and his grandmother Tata

“My older brother -on my father’s side- he did have some knowledge, he was the most educated, in that house there were harps, cuatro, maracas, records, my family on my father’s side were very fond of music, from our musical family tree we have four musicians -Julito Antillano, Denis Antillano, José “Kikin” Fernández and me”.

What anecdotes or memories do you have of the piano?

“At the time of the construction of La Cota Mil, my grandmother’s piano was taken to my father’s house, at that time I began to kill a fever, I was about 10 years old, it was the time of the gazebos to choose the queens of the neighborhoods, the Sexteto Juventud was in fashion with its theme Caramel and Chocolate; at Christmas and Carnival we did not peel a rehearsal of the groups that lived in Catia”.

That would be the first impulse to awaken the gift within

“Yes, that was my first impulse, I inherited that musical vein from my grandmother and my father, they were close to salsa and folk musicians, besides, my father and my uncle bought a lot of Long Play (elepé), I started working with my

brother in a shoe store and started buying records.

Fidel, I understand that you are a self-taught musician. How was that learning process and deciding that the piano would be the instrument to play?

“Yes, I am a self-taught musician, back in the 70s we used to hear Nico Monterola’s Orquesta Renovación, La Banda y Su Salsa Joven on the radio. To my surprise, we used to meet with those musicians and we used to go and hang around their rehearsals, this had a big impact on me, there were many shows, it was a coming and going of groups of the moment”.

When I was 18 or 19 years old, seeing Salsa Mayor, Pacheco, Carlos “El Grande”, all those great musicians, I made the decision to learn to play an instrument, I looked for a teacher or someone who would teach me to play the piano -Salsa was underestimated and that’s why they thought it shouldn’t be studied”.

He got a teacher

“No, because of what I’ve told you, salsa was seen with bad eyes, the scholars did not see it as music would be, look, at that time I was exchanging the Lp with my friends, in one of those exchanges a friend lent me the album “Musical Conquest” by Sonora Ponceña, when I heard the song ‘Ñañara’ I fell and the entrance of the piano played by Papo Luca, that simple montuno, I was hooked – I said; this will be my thing!

That was the leap you’re hoping for

“Yes, that was the big jump, I went uphill because I didn’t know what a chord was, I didn’t know anything, I mounted 4 songs with simple chords, taking the first steps I fell in love, then I joined people with more knowledge”.

“As there was no one to teach me, I saw books, I had chords of the songs and I was guided by a music theory book, I learned to decipher the codes, music is a code, I read the Swing Latino magazine -from my friend Angel Mendez-, without stepping on a school, I was fed up; one must know about harmony, contra punto, I bought the Berklee harmony book and many more, -I rubbed shoulders with other musicians -some records came as a clinic, all this was feeding me”.

He was his own teacher and a very disciplined student

“I was my own teacher and I took on a discipline because that’s what I wanted, if you went to an institution where they gave music lessons and you said you wanted to play salsa, the musician was fined or thrown out, they were treated in a derogatory way”.

It was worth the effort, from being an empirical musician to playing with the best orchestras.

“I started with Grupo Fósforo, back in 81, we only wanted to play, it was a sextet, Mr. Manuel Ibarra passed me the notes and I didn’t know much about playing, then Jesús “Mandinga” Torres, took me to see different groups, That’s when I decided to introduce brass into the sextet and it became an orchestra, -all the arrangements were done by me-, I had any number of records and many songs from those Lp were not played or played by other orchestras -Gran Combo, Sonora Ponceña, among others-“.

He is a collector

“Not a collector as such, but I do like it, not with the eagerness that any collector has to obtain all the production, as La Sonora Ponceña says, but I have my Lp”.

What happened with the group Fósforo?

“It dissolved because they each started playing for different orchestras.”

And then the Grupo Fósforo

“Mandinga tells me that Carlos “Tabaco” Quintana needs a pianist, I clarify to him that I do not know how to read the scores, that he gives me the papers that I have the album, I began to listen to the album and I saw the papers, with that I completed the study, and I was increasing the experience, I recorded in the production of Tabaco and his Group Futuro”.

“Then with Dimas and his Orchestra Alegria, it was the first album I recorded professionally in the year 85, through those works I was doing with Dimas, I know Mauricio Silva, I felt afraid because Mauricio already had experience, he was the producer of Dimas’ album, but everything flowed, on the way I know many other professionals”.

“In the year 87 Roberto Blades came to Venezuela to the famous events Consul, Alberto Vergara recommended me Manuel Guerra and we made several tours by some regions of the country, then Julito – my nephew – told me that Naty Martinez needed a pianist”.

How was your time with Naty’s orchestra and your separation?

“Thanks to the album I made with Dimas, many doors opened for me, he believed in me and I will always be grateful for that. Through this album, Naty hired me, he already had references from me, and I recorded 4 of his productions with him -Naty, El Legendario, returned, In Dos tiempos and Proyecto Maelo-, with Naty I made my debut at the Poliedro de Caracas, I met Ray Barreto and the pianist Ricky González -he passed me some tricks-, we also went to Colombia and alternated with Grupo Niche and Joe Arroyo, a great growth and learning”.

“I left the Orchestra with a good relationship with Naty, so much so that he called me later to record in the productions, En dos Tiempos and Proyecto Maelo”.

It was a very fast growth

“Yes, I’ve even recorded jingles, I was with the Orquesta Café de Caricuao, I was with Erick Franchesky in the production where he pays tribute to Billos”.

From Salsa orchestras to working with one of the greatest exponents of Caribbean popular music, maestro Porfi Jimenez

“At the time that erotic salsa was introduced, I started to play with Porfi, merengue and snail soup were in fashion, all that music was in great demand, it was a boom, weekly there were 3 or 4 dances, this dragged a great group of followers, with it I go to Tenerife to some carnivals, I have great respect and admiration for the master”.

His time with the group of Porfi opened the doors to work with the group “Los Roques” of Tenerife

“Of course, however, I had left my resume there and one day they called me and told me that they were going to send me the ticket, I was with them for about 7 months, I played in the carnivals of Tenerife, it was something apotheosis, dances and dances did not let me come – laughs – they played merengue, I was blessed to visit Africa”.

All this accumulation of experience allows him to decide to create his own orchestra

“When Porfi was in the merengue boom, however, most of us musicians were salsa musicians, and because of that need to play our rhythm I decided to create my orchestra, but before doing the Combo Antillano we had an orchestra called La Gran Fuga, the singer was Edgar dolor, we killed fever with that orchestra and eventually I played with Naty and Porfi, because of so much activity I played with my orchestra on the days I had free, it was a good time for the groups”.

What happened with La Gran Fuga?

“We made it to occupy the days we had free with Porfi’s orchestra, at that time it had suffered a drop in the number of performances, but when it came back up, we didn’t have time or space to play, – well – it didn’t really dissolve, in fact they always give us caps to reassemble”.

From being the musician of the Orchestra Dé, to being the owner of El Combo Antillano and taking responsibility for a team

“A great responsibility and commitment, but it was time to do the same, we opened the compas playing music from the Gran Combo of Puerto Rico, that was the end, we played the greatest hits of the moment, no other band did, on Tuesdays that was full of people in the different places where we worked, this served as a bridge and accompanied other artists, Andy Montañez and other groups, this made me think about making original songs to record.

What was your first composition?

“The “Afro-Caribbean Music Festival” took place at the New Circus in Caracas, with 30 orchestras participating. Lil Rodríguez asked the orchestras to play original songs, and my first composition was a tribute to Caracas”.

At that moment they take a prize as the most applauded group of the night

“Yes, that was impressive, with Leah’s song, a Mongo Santamaría song, it was something new for the moment, an instrumental discharge”.

Tell us about your record productions

“My first production is called Háblame de Melao (2010), in most of the songs I do the lyrics and arrangements, was something new, the black Mendoza puts me to record and tells me to do theme by theme, we made 21 track, but in the album only put 19, this production was made to recognize the singers, Dimas Pedroza, Teo Hernandez, Angel Flores, Larry Tovar, Luis del Valle “Don Wicho”, Rodrigo Mendoza, Eloy Rios, a tribute to them and highlight our people.

“The second, Fidel and the descarga de los Frailes (2013), here we handle the Salsa, Latin Jazz, Danzón, has a lot of instrumental music before starting the rumba, I had the desire to work and create with a sense of belonging, I made an innovation in the melody with the electric guitar and flute, I did not want to continue recording on wet”.

“and, Caracas en su Salsa (2018), is a tribute to the Salsa of Caracas, in this production we have 14 songs”.

Through this production you made a documentary with the same name, which begins with a beautiful phrase of Cabrujas “Caracas Suena. The city was made to be heard, not to be seen”. How would your interpretation of this hidden city be?

“There is a city that cannot be seen, but it is there, and although the media does not show it to us, we can notice it, through, for example, the musical groups that exist in our neighborhoods and that become visible when there are events, like the one organized by Héctor Castillo (+) in 1983, where we could realize that there was a whole cultural movement hidden in each of our neighborhoods”.

“So I urge this type of inter-neighborhood events, which allow the visibility of the hidden Caracas.

Another of his passions is composition. At what point does the muse come to him?

“At first sight I fell in love -laughs-, -Bella Cubana-, to compose you must have a little bit of each thing, love, dislike, joy, sadness, they are not always experiences of the composer, sometimes if, in the variety is the taste, in my case I work with the rhythmic part and I put lyrics, and more than muse is a mixture”.

He makes songs with meaning that captivate the audience

“You like your audience to identify with your songs, the lyrics are thought-provoking.”

Does the song I don’t want to live in the dark have to do with any experience?

“That one was written by Carlos Navarro and I arranged it for him, it was a personal experience of his. I was in a treatment centre and he talked to me about it, I decided to do the arrangement”.

In the music industry we have many issues of strip and shrinkage, is the case of Domina tu lengua

“Sometimes people think that a song can be a strip and shrink, because of the content of the lyrics, in this case it is not, this was written by the Cuban producer Luis Llamo”.

What gives you the most pleasure as a musician?

“Finishing the product with quality and seeing the acceptance of the public, when you are in the studio and you realize that it looks better, then it sounds on the radio, seeing that the public sings it, dances it, that’s priceless, that’s the greatest satisfaction”.

Which of your productions has given you the most satisfaction?

“Tell me about Melao.”

Why?

“There is a great variety of rhythms in it, I had the opportunity and the satisfaction of exchanging with a large number of people from outside, in it is the theme Pa’ Barlovento, in it exported what is ours, our native rhythm, Venezuelan Sangueo, the Culo e’ Puya, the San Millán”.

What have been your musical influences?

“I wouldn’t be a musician if it wasn’t for Papo Lucas, trying to emulate what he did, as a musician, arranger and person, I admire him a lot, from here comes my influence, -in what time he learned everything he knows-, that makes him incredible, apart from the master Tony Monserrat, an independence with his left hand, he was a virtuoso”.

Many begin by imitating a style, versioning lyrics from other groups. What do you think of the copies, has creativity been lost?

“It’s a resource that is used, at a certain moment, it’s a hook, I barely had the opportunity to do my work, one must have the ability to discern where to play each song, maybe many are afraid of not liking it, or not being accepted”.

What do you think this fear is about?

“Perhaps not to be broadcast on the radio stations.”

He believes that more support is needed from the various media

“Yes, the lack of support sometimes makes one fear, it’s worrying to touch on a subject and the track gets empty.”

That’s when the artist turns to the hated payola

“I don’t agree with the payola, but it is a necessary evil, all the work that an orchestra owner does generates expenses, and after making an investment you need a retribution; previously live performances were a springboard, they projected a lot to the groups, that has declined a lot”.

What has happened to the Bolero in productions, you don’t listen to them anymore?

“The record companies are more determined to sell, that’s why I think they stopped recording, the new generation should identify with that rhythm, there are many beautiful boleros and if they stop recording they might be forgotten”.

Fidel, what new projects are on the way?

“Right now I’m recording with Angel Flores -record pocket- the song is called Callejon 107, is dedicated to the experiences of Latin American neighborhoods, is a son montuno very tasty, lyrics by Flores and with arrangements by this server”.

At this time when humanity is going through a hard test for its survival, what message would you leave behind?

“There is advice to live a life attached to good habits, one must live under these guidelines, the book of proverbs is wisdom… The man who walks in integrity walks confidently”.

By Eling Blanco, ISM Jounalist Correspondents, Caracas, Venezuela

Eva Gordillo, psychologist by profession and director Salseros Academy

Eva Gordillo: The so-called Cuban style is the original way of dancing “casino” or “rueda de casino”.

The first steps of this dance were developed in the sports casino in Havana and other dance halls in the Cuban capital at the end of the 1950s, hence its name in Cuba: “–“, as it was originally called “El baile del casino”.

In Barquisimeto, the musical capital of Venezuela, the dancers of Afro-Caribbean rhythms have a place to develop, improve and learn skills with the help of professionals, who achieve the integration of its participants, creating an atmosphere of great joy for all ages.

In this sense, our special guest in Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsamundi.com, is Eva Gordillo, psychologist by profession and director of the dance academy “Salseros Academy”.

Dancers of Salseros Academy Dance Academy

Eva has been a passionate dancer since the age of 13 and today, with only 22 years old, she has toured most of the dance schools in the twilight city and some outside the state of Lara, projecting and developing herself as an instructor of proven hierarchy and reliability.

Welcome Eva to the only salsa magazine in the world, International Salsa Magazine and Salsa Escrita. Thank you, Professor Carlos, for giving me the opportunity to be present in your prestigious salsa column, which is already recognized in my country, the Caribbean, the United States and Europe, thus supporting the entire existing salsa movement in Venezuela.

Eva Gordillo and Members of the Salseros Academy dance academy

Eva, how and when did the idea of having your own dance academy come up? Friend Carlos, on November 26, 2018, I started and materialized my great dream, my own academy and together with my colleagues and friends, Eleazar Hernandez and Manuel Gamez, we started this adventure, from which today, we are harvesting many fruits and we feel extremely happy with this project and grateful, mainly with God, because everything is thanks to Him.

Excellent, very good friend, by the way, what kind of dances do you develop and teach in “Salseros Academy”? In our academy we give group and personalized classes, for all ages, conditions and levels. Our strength is Latin rhythms, especially Salsa, as our name indicates.

We focus on their different dance ramifications, such as New York style mambo, Salsa en Linea or Los Angeles style, Cuban Timba en Linea and En Rueda or “Salsa Casino”. Amiga Eva, in addition to salsa, do you teach other dance rhythms? Indeed Carlos, in addition we teach some Cuban music derivatives such as the chachachá, pachanga and boogaloo.

We are also projecting ourselves strongly with the bachata and its variants, as well as other Latin genres, such as merengue, among others.

During a visit to the headquarters of “Salseros Academy” in the city of Barquisimeto, by the Latin American correspondent team of International Salsa Magazine, we were able to see the excellent, comfortable and spacious facilities, located on Carrera 16 between Calle 61 and Avenida Rotaria, where Eva is accompanied by four experienced instructors specialized in different dance styles. The attendance and registration of participants is massive, given the proven quality and recognized throughout the city of Barquisimeto.

Friend Eva Gordillo, do you also have other projects at a musical and danceable level? That’s right teacher, at present we are heading to be producers of salsa events, thus promoting the Latin dance movement in our state Lara.

By the way, last year we had the pleasure of carrying out an event called “La Gran Gala de la Salsa” (The Great Salsa Gala), on the occasion of the celebration of the 1st anniversary of our academy, in which the dancers were able to enjoy the “Kadencia Latina” and “Jossy y su Banda” orchestras. Digital platforms and contacts for those interested in dancing at Salseros Academy? Friend Carlos, they are: Instagram: @salserosacademy, @evacarolgz, Whatsapp: 0424-5697908, Facebook: Grupo Salseros.

On behalf of the academy, my team and students, we would like to thank you for your support and projection of our work through your column “Salsa Escrita” in International Salsa Magazine. We wish you success and blessings to continue driving the Venezuelan salsa movement.

By Carlos Colmenares, ISM Journalist Correspondents, Barquisimeto, Venezuela

A walk through the history of Latin music in the United States

Latin music has been of great influence for singers in training and, without a doubt, marked the lives of its pioneers. Some born in Spanish-speaking countries and others with descent from these lands have not been able to put aside the flavor that has been inherited to them. There are those who affirm that these tropical and Caribbean rhythms are carried in the veins and it is very difficult to get rid of these roots.

The arrival of Latinos in the United States also implied the arrival of their customs and culture. Latin music is considered to be a large number of genres, including: salsa, merengue, bachata, bolero, bossa nova, reggaeton, rumba, ranchera, cumbia, tango, among others.

Photo of Latinamerican Festival at Nagoya in Golden Week

Latinamerican Festival at Nagoya in Golden Week

How did Latin music begin to enter the United States?

Latin American music has influenced American music, starting from jazz to country music. Many bands added congas, percussion, or maracas to their instruments as they were drawn to the result these elements brought.

Starting in 1940, the music of Latin America, which still did not have a specific term, covered a greater number of audiences in the United States; international radio networks broadcast different themes of the time. In addition, they featured different Mexican bolero musicians such as Alfredo Antonini, Néstor Mesta Chayres, Eva Garza and Juan Arvizu. In the 1940s the US also heard the “Calypso” with great acceptance.

It was not until the 1950s that the term “Latin music” became popular, seeking to establish a difference between Afro-American and Afro-Latin American rhythms. Some artists marked this musical fusion to a greater extent, making the best of Latin music known on American soil. During the 1950s, music brought to the north from the island of Cuba, such as mambo, cha-cha, and rumba, was very popular. As well as the famous Mexican songs: rancheras and mariachis.

Some Latino artists who marked the history of Latin music in the United States Tito Puente was an American percussionist with Dominican origins remembered for his participation in worldwide jazz, Cuban music and salsa. In 1950 he helped promote the genre of mambo and cha-cha. His album “Dance Manía” was considered the most famous by the artist, it was one of the most heard among the Latino community in the US The album also set a precedent by being recorded in Spanish, generally, Latin albums were in English or with instrumental songs. It was Tito Puente who broke with this tradition.

At the beginning of the 20th century, tango touched American soil. Then, in the 70s, the Argentine Astor Piazzolla gave something to talk about by demonstrating his passion for the genre and revolutionizing what was known until that moment. Piazzolla was born in Mar de Plata but lived in New York from a very young age. It definitely changed the way of looking at music that was long marginalized, it was considered the music of the working class. The singer made mixtures between tango, jazz and contemporary classical music. His songs were a great success and were famous in bars of the time.

It was not until the late 1960s and early 1970s that the term “salsa” began to become known. Afro-Caribbean musicians mixed Cuban dance with influences from jazz, Caribbean music, and American rhythms. Although in previous decades it had already had its beginnings, it was in the streets of New York where it was consolidated as a commercial success.

Photo by Celia Cruz and Tito Puente

Celia Cruz and Tito Puente – Latin music

Salsa launched artists who are now legends to stardom, such as: Celia Cruz, Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, among others.

Between the 1970s and 1990s, Dominican immigrants to the United States continued, especially to New York City, and promoted genres such as merengue and bachata. Juan Luis Guerra was one of the great exponents of both styles.

In the 90s, Selena mixed the Texan aesthetic with pop, giving her the title of the highest representative of the genre.

Entering the 2000s

In this decade, Latin rhythms continued to set the trend. Singers like Rubén Blades returned with songs that promised to be hits in the country.

At the end of 1999 Marc Anthony surprised his followers with an album of the same name. Although he was already known in the salsa genre, he decided to try other styles. With the intention of reaching the Anglo market, he is encouraged to sing in English. “I Need To Know” is a cha-cha song that quickly became popular in the United States. For eleven weeks it remained in the top North American positions, ranking in the Top 10 on the Billboard. The Spanish version won the Grammy for the best Latin song of the year 2000.

Marc Anthony was one of the artists who marked this decade in the US That same year a compilation of his best salsa songs went on sale, which he called: “Desde el principio”. With these successes to his credit within this country, he set out to make an important tour of the United States. Canada and Central America. Madison Square Garden in New York was overflowing with fans who wanted to hear this American singer but who positioned himself as the leader of a Latin genre.

Photo by Marc Anthony

Marc Anthony

The opening of “I Need To Know” appeared in the Nissan Versa commercial in the United States and in 2009 it also featured in an American Dad chapter, an American television series; thus giving greater projection to this genre throughout the North American territory.

During this decade, salsa and Latin music in general ended up positioning themselves in the United States.

In 2002 Blades launched his album “Mundo”, becoming one of the most popular in the United States. In fact, it won a Grammy. The album contained a mix of various rhythms and instruments. The artist wanted to create a fusion of cultures and musicians from different countries. “Estampa” was a subject with great acceptance as it evoked the Afro-Cuban influence in New York music.

By the year 2000, there were already music channels and with them the projection of emerging talents who in many cases did not speak the English language. The dynamics of these channels focused on the public, who chose which songs and videos were to be played, giving the opportunity to many young, little-known artists. They were also considered a springboard for the singers of the season and the Latin movement in general.

A movement that is here to stay

Latin music had come to continue making history and it was time to give it greater merit within the American spectacle.

Today, Latin singers, songwriters, and bands are innumerable. Latin music continues to gain space in the United States and more and more artists are achieving success within its borders. In addition, the endless awards that enhance their work in the industry.

Ruben Blades - Mundo

Ruben Blades – Mundo

The consumption of these musical rhythms has increased throughout the American territory. Latinos and followers of this genre have gained space over the years; they can enjoy nightspots, live music, festivals, concerts and much more. Long live Latin America and its people! Long live the United States and the countries that have opened their doors to Latin music