Search Results for: rhythm

2021: Find out which are the active nightclubs in Chile

It began in the month of November 2021 and we learned that in Chile there are already several places that began to open their doors to the public offering events, classes and a place to enjoy and get out of the daily routine and more with the Covid-19 pandemic, for We did a small tour around the country seeing which places or nightclubs are open or which are about to open their doors, and at the moment we have the following clubs:

The Orixas Disco and Nightclub is back:

Club Orixas, a nightclub that before the covid-119 pandemic had an outstanding billboard of live music events, dance shows, animations, contests and much more activities from 7:00 p.m. to 3:00 a.m. ; and we receive the information that will soon be opening its doors to the public and through its social networks we already have many advances of how it will start and here we have a brief summary of the following activities to carry out:

The musical atmosphere will be provided for the moment by the Resident DJ @djpamanar, on Wednesdays there will be bachateros, on Thursdays by Sabor Cubano, on Fridays by Mambo and on Saturdays there will be 3 Cubans – 3 mambos 3 bachatas + pachanga.

If what you want to dance and learn, these are the days (at the moment) that the following classes will be held (we still do not have their schedule so we have to be aware of their schedule of activities) and who will do them:

Wednesday: on Wednesdays the Sensuality of Bachata with @camilobsoul.
Thursday: for casino lovers, every Thursday we will have classes together @lalosuke
Friday: Online Salsa classes will be given with the style and elegance of teacher @gonzaloriquelme, all you need is to participate without any experience
Saturday: dance classes will be given, where everyone will be playing the styles in a Latin animation by @ pedro_pozo821

We must be aware of the event of Maykel Blanco and his Salsa Mayor who will be in Chile at Orixas Club which is located at Tarapacá 755, Santiago 8320000 Santiago de Chile, which will take place on December 4 from 9:30 p.m. to 10:00 p.m. 00:30 hrs on December 5.

For more information or news about the Salsoteca Orixas Club:

Facebook: @Orixasclub
Phone: +56 2 2638 0561
E-mail: [email protected]

Salsoteca club 4-40, Chile:

This Chilean salsoteca has a Colombian style that only enters located in Chile, in santa filomena 81 8420000 Santiago de Chile they are open every day and they are often mentioned as (the heart of bellavista the bohemian neighborhood of Santiago), this club is known For being very traditional and completely original to the rumba and the show begins from 4:00 p.m. or 5:00 p.m. until 4:00 a.m., where they will be playing several DJs giving it a pleasant atmosphere to be able to dance different musical rhythms.

For more of the club 4-40 salsoteca, you can consult it or ask through its page of:

Facebook: @club440i

The seeds of capacho give the sound to maracas

The capacho tree (Canna Generalis Bailey) is a large flower and its colors can be yellow, red or orange. The fruit they produce has seeds used by Venezuelan folklorists to create the filling of the maracas and, in turn, get their sonority.

For this process, there are three steps to make them and obtain the final product.

capacho flor bocono — Capacho flor Bocono

In Venezuela, the typical llanera maraca is filled with seeds of capacho, which are very hard and do not wear out easily.

Another material used is the so-called “espuma e sapo” which are a type of seed that also give a very good sound to the maracas.

I have been collecting these seeds you can see in the photos for the maracas that we are going to make for the dancing devils of Tinaquillo in my community of Santa Rita in the lower part of El Valle.

Manuel Alejandro Rangel

The maraca in Venezuela has been present mainly among our native peoples. It is used to accompany the dance, be a child’s toy, invoke, heal and cleanse at the hands of the shaman. This small and powerful Venezuelan instrument is composed of three elements of nature: mango or stick extracted from the wood of wild trees; tapara or gourd, fruit of a climbing plant with the same name and originally African; and finally, seeds of capacho (Achira) or seeds of Espuma e ́ Sapo (wild plant) that go inside the tapara and are commonly found in Latin America.

For being an idiophone instrument, the maraca produces sound thanks to the vibration of its own body, that is, to the shock of the seeds inside against the walls of the tapara when it is shaken, generating a dry and strong sound. Besides resonating when shaken, when we hold the maraca and make repeated circular movements with the wrist, we achieve that the seeds result in friction with the walls of the tapara, which produces a sound with greater sustain, similar to the sweep of a broom, called for this reason by several cultists escobilla’o.

Over the years, the maraca in Venezuela was incorporated into musical expressions of different regions, becoming an almost essential accompanying instrument and varying its playing technique according to the regions and genres that have adopted it. That is why in the Venezuelan plains, the maraca performance resembles the sound of galloping hooves, that is to say, the blows of the seeds to the tapara when shaking it are mostly dry or staccato, with an possible use of the escobilla’o technique that we will explain in detail in this method.

Unlike the performance in the Venezuelan plains, in the east of Venezuela the maraca emulates the sound of the sea with the prominent use of the escobilla’o; while in the center of the country, the use of this technique is low and the shaking of the seeds is less staccato or forceful than in the plains, making its rhythm function as the main guide for the dancers. The maraca can also be seen in different Afro-descendant drum ensembles in the country, and is generally played by the singers, who use only one maraca instead of two as in the aforementioned regions.

The Venezuelan maraca is fundamentally a popular instrument. Maybe that is why, until now there has not been a specific academic musical writing that allows to know in depth all its language. The most direct way to learn to play this instrument is mainly by oral tradition, as well as by observing, listening, and deciphering great maraca players who, thanks to the cultural heritage and family tradition of their towns, play it in a very genuine and masterful way. Insignificant Venezuelan maraca players who were masters in this field such as: Santana Torrealba, Máximo Teppa, Pedro Aquilino Díaz “Mandarina”, José Pérez, Coromoto Martínez, Trino “Chiche” Morillo, Ernesto Laya, Jorge Linares “Masamorra”, Lorenzo Alvarado, Manuel García, and from the Colombian region masters who have adopted the Venezuelan maraca tradition such as Gilberto Castaño, Diego Mosquera, William León, Emanuel Contreras, among many other anonymous heroes from different regions of Venezuela, have been and will continue to be the most important guide for the teaching and evolution of the maraca in the world, providing new generations with a cultural connection to the deepest roots.

Thanks to the legacy left by each of these maraca makers, a vital source of inspiration for many performers for decades, the commitment to continue with important educational inputs that allow the expansion of knowledge and the evolution of our popular Venezuelan instruments at the academic level is born, since these instruments per se, require a rigorous study in terms of vocabulary, technique, and history.

In this method 5 Movements are the key, I want to share the experience that helped me to understand the traditional playing techniques of the Venezuelan maraca and that led me to the design of a musical writing that shows its performance with clarity and discernment for each Venezuelan genre according to the vocabulary and variations that have been standardized over time.

And when I talk about variations, I emphasize five basic movements that I consider to be the key to the playing of the maraca. Five movements that will later become the musical discourse of those who master them.

Five movements that will show the student why and how the main traditional Venezuelan rhythms are born. Five movements that I have not invented, but that are the vocabulary of tradition, and that the student will observe in the performance of Venezuelan maraca players who have dedicated their lives to this instrument.

Personally, Special mention should be made of maestro Juan Ernesto Laya “Layita”, who instilled in me much of the basic knowledge of the maracas in the workshops dictated by the Ensamble Gurrufío: Aprende y toca con Gurrufío in 2000. Years later, once graduated as a classical guitarist from the Vicente Emilio Sojo Conservatory of Music in 2004, I began to design exercises that would allow me to pedagogically transmit to my students the language learned with maestro Laya and with several of the musicians mentioned in this writing.

An important step if we take into account that no music school in Venezuela had a pedagogical program for the teaching or application of theory to this instrument at that time.

It should be noted that I have put these exercises into practice in various clinics, master classes, courses, and seminars that I have had the opportunity to dictate around the world, where the development and learning of the participants has been satisfactory in a large percentage. Especially in the Simon Bolivar Conservatory (Ccs- Vzla) where I teach since 2014, in the Venezuelan Music seminar organized by Venezuelan percussionist Fran Vielma at Berklee College of Music (Boston-USA) in 2014, and in the “Venezuelan Creole Music Course” (Mirecourt-France) produced by maestro Cristobal Soto, in which I participate since 2015, among others.

With regard to the writing of the Venezuelan maraca, over the years I came across Venezuelan works for orchestra where there are specific parts for maracas such as the guitar concertos by Antonio Lauro, the works of Evencio Castellanos, La Cantata Criolla by Antonio Estévez, La Fuga con Pajarillo by Aldemaro Romero, and the Concierto para Maracas y Orquesta Pataruco by Ricardo Lorenz, to name a few. When I read them, I realized that their writing was not entirely idiomatic, so I had to interpret and adapt to the technique and idiosyncrasy of the Venezuelan maracas what the composer wanted to say and that the writing was not able to convey to me.

That is why in 5 Movements are the key, I propose the musical writing for the Venezuelan maracas in a bigrama, since, within the large family of percussion instruments, the maraca is one of the few that produces sound with the movement of the arm both up and down. And therefore, the upward movement is part of the rhythmic phrase.

In the bigram I suggest, the upper line represents the right hand, and the lower line the left hand, very similar to the piano writing in two clefs: right hand treble clef, and left-hand bass clef. In this way, the polyrhythm of the two maracas is visually separated when carrying out their movements. In addition to the bigram, I assigned to each movement a symbol that defines which of the five that I describe will be used in each figure.

Finally, I would like to comment that one of the main objectives of this method is that these five movements and their combinations show how basic traditional Venezuelan rhythms are accompanied, and besides, how they link or build connections that allow the performer to go from an accompaniment pattern to a variation, and then back without interrupting at any time the rhythmic stability, the sound, or the movement of the arm or wrist. I would also like to add that this method not only applies to Venezuelan music genres, but can also be used to incorporate this sublime and powerful instrument into any musical culture in the world.

Maracas in Latin rhythms belong to the minor percussion section.

A classic of Latin percussion. It is an idiophone instrument, it uses its body as a resonator element, which has its own sound. The origin of the maracas is South American and dates from the pre-Columbian era in America. Originally only one maraca was played, nowadays they are usually played in pairs. Its operation is simple, the sphere is filled with small elements that when shaken impact the inner wall producing the sound we all know. These small elements can be small stones, seeds, pieces of metal or glass… They are normally used to mark the rhythm in Latin music.

Hands to the maracas!

Sources:

Photographs: Alberto Cardenas

https://www.facebook.com/ZorcaCultura/?ref=page_internal

https://cuentaelabuelo.blogspot.com/2010/03/las-maracas-o-capachos.html

https://tucuatro.com/camburpinton/las-maracas-instrumento-musical-economico-y-facil-de-elaborar/

https://www.clasf.co.ve/maracas-pan-con-queso-cuero-y-semillas-de-capacho-en-caracas-1721485/

https://manuelmaracas.com/manuelsite/articulo/a-las-maracas-venezolanas/

Article of Interest: Génesis of Salsa, its essence, characteristics, rhythm, history, and expansión

Video Courtesy of multi – percussionist Diego Gale “Master Class: Maracas

November 22nd International Musician Day

Music is our messenger from the world

Each November 22nd, music and those who make it have their own celebration called ‘Musician Day’. This is the story of this date that fills the people who reach millions of hearts through this art with pride.

And who does not like music? It is practically impossible to find a human being who does not enjoy music. Another different thing is the style of music.

But in general we all like it. The reason is the fact that it is in our genes. Regardless of its genre, music is able to change our mood by reducing sadness, stress and making us feel better.

November 22nd International Musician Day — Music is our messenger to the world

Why is Musician Day celebrated?

The date of November 22 commemorates the death of Saint Cecilia, patroness of musicians. This Christian martyr was portrayed in the 15th century by artists of the time, always playing the harp or other musical instruments. This is why she has been so associated the art of music.

The first celebrations date back to Edinburgh in 1695. Subsequently, countries such as Germany, Spain and France joined the celebrations. In Latin America, Brazil was the pioneering country in celebrating a party on November 22nd, starting between 1919 and 1920, eventually spread to the rest of the Ibero-American countries.

Finally, next Monday, November 22, 2021, we wish a happy Musician Day to those who make this art. A reality for the millions of people’s benefit.

Music (from the Greek: μουσική [τέχνη] – mousikē [téchnē], “the art of the muses”) is, according to the traditional definition of the term, the art of creating and organizing sounds and silences while respecting the basic principles of melody, harmony and rhythm, through the intervention of complex psychochemical processes.

Another different thing is the style of music. But in general we all like — It is practically impossible to find a human being who does not enjoy music.

The concept of music has been evolving since its origin in Ancient Greece, when poetry, music and dance were united without distinction to a unitary art. For several decades now, the definition of what is and what it is not music has become more complex, since prominent composers in the framework of diverse border artistic experiences have performed works that, while they could be considered musical, expand the boundaries of the definition of this art.

Music, as any artistic manifestation, is a cultural product with various purposes such as, among others, bringing out an aesthetic experience in the listener, expressing feelings, emotions, circumstances, thoughts or ideas, and increasingly, fulfilling an important therapeutic function through music therapy.

Lyrics and Music by Johnny Zamot & Sociedad 76

Music is My Life

Music is my life, my companion and my friend with her I have stayed awake to entertain the world my voice is the messenger of Latin music thank you Santa Cecilia for having given me the gift ob being a Latin music musician and singer that’s why I am telling you just so long you have got it clear. To sing guaguancó, you need a good atmosphere.

Links of Interest:

“Big Band Máquina” la Más Novedosa Producción de Angel Meléndez Lanzada por Gia Fu

22 de Noviembre Día Internacional del Músico

Dinero y Música: El Matrimonio Perfecto

Orquesta La Moderna Tradición frontman Tregar Otton talked to us

What Orquesta La Moderna Tradición is

Tregar Otton playing — Tregar Otton, founder of the orchestra, playing the violin

Orquesta La Moderna Tradición has been one of the most legendary groups of Cuban music in its entire history. It is a group whose members are based in San Francisco, California, and consists of 11 members who play different genres such as danzón, timba, guaguancó, cha cha chá, son, rumba, charanga, among others. They also mix in elements from American jazz, violins, and Afro-Cuban rhythms.

The beginning of this orchestra’s story goes back to 1996, since they started to perform throughout the United States to bring the best of traditional Cuban music to every corner of the country and transport Cuban immigrants back to the Havana’s streets and clubs during the 50’s. All the success accumulated allowed them to perform at the San Francisco Jazz Festival, the Smithsonian Institution, the Lincoln Certer and many other venues of high prestige.

Recently, Orquesta La Moderna Tradición once again displayed their talent at Yoshi’s, a jazz club and restaurant located in Oakland, California, whose reputation in the San Francisco Bay Area is not up for discussion. Our editor Eduardo Guilarte was present at the show to cover the details of the event, which left all those present in awe.

Conversation with Tregar Otton, founding director of the orchestra

Tregar Otton and Maru Pérez-Viana, his wife and an important part of the orchestra

Based on the above, we talked with Tregar Otton, founder, director, composer, and violinist of the group. This talented musician, born in the Marshall Islands and raised in Texas, started to learn about classical music from an early age and joined the Berkeley Symphony while he still was a teenager. By the 1990s, this musical promise worked as a regular part of Virgilio Mart Y Sus Majaderos, La Tipica Novel and the Charanga Orquesta Broadway.

By the year 1995, Otton founded Orquesta La Moderna Tradición with Roberto Borrell. At the beginning, the group started to become well-known for its soft sounds of Afro-Cuban charanga, which are accompanied by a set of wind instruments and violins that give a unique touch to this group’s music.

Today, we have the welcome presence of the musician to talk about each and every one of the issues raised in this brief review and anything he wants to reveal to our dear readers. It is such a pleasure to have you here today, Tregar. How are you feeling?

I am fine here near San Francisco. Good to see you today.

Very good, Tregar. You got started in the world of music at a young age. Could you tell us a bit about your beginnings?

I started playing violin when I was four years old and my family had a violin teacher as a neighbor. My parents did the laundry for all our neighbors, so we met her and she ended up giving me classes every day. After that, I studied a lot of classical music, bought music when I was about 20 and fell in love with it because it used the violins differently from classical music. I really enjoyed playing dance music because the connection with the public is quite different from that of classical music. In the case of classical music, many people get bored, but Cuban music and salsa music make a much more direct connection to the audience. There is nothing like playing for a floor with dancers.

We understand that you were born in the Marshall Islands, but grew up in Texas, is that correct?

Yes. After my dad married my mom, they both moved to Micronesia, the Marshall Islands, in the middle of the Pacific. After that, I grew up in Corpus Christi, Texas, till I was 13 or 14 about when I moved to California.

I asked because it is very interesting how you set your eyes on Cuban music despite your origins. Where does this interest in Cuban music and the rhythms you play come from?

For the same reasons I play dance music. It caught my attention when I heard Charanga de La 4 or one of these New York bands. I was impressed that violins were part of the percussion and were making repetitive sounds with the refrain and the son montuno. We are more part of the rhythm section than the melodic section in many of our songs. We can dance while we are on stage. I was also impressed by the improvisations of Cuqui and Alfredo de la Fé. I had many Latin friends I met in college while learning Spanish because no one in my family spoke it.

How did Orquesta La Moderna Tradición come about and who joined you in its foundation?

I was working with a group. I was in New York, where I was playing with the Broadway Orchestra and the Orquesta Tipica Novel. I was very lucky to have been in that city because I got to know many veteran musicians in the 80’s like Renato Valdés, Virgilio Martí, and Adalberto Santiago. I visited a Cuban friend from San Francisco named Fito Reinoso, who had a group called Ritmo Y Armonía and he visited us here in New York. I was tired of the cold in New York, so I decided to go to San Francisco, where Tito and I had the idea of creating a group. It was there that I met a great drum instructor and dance teacher Roberto Borrell, who joined us to found Ritmo y Armonía. After two years, we had to be apart, but Roberto and I still wanted to play danzón. At least here in the Bay Area, it is very difficult to get singers. The ones we have are good, but there are not so many. So, we planned to make a danzonera or danzón group. When the orchestra began to work, we only played danzón songs, rehearsed every week and did many tours with this musical genre because there was a boom with swing dancing and dance music during the 40’s. So, we were surfing that wave. So, we were surfing that wave and doing collaborations with swing groups because it was older music. Danzón is a very rich genre, but it is no of interest to many people because they do not know how to dance it, so we started expanding our repertoire to include more modern and dance music. We still play danzones, but only two per set. There are still musicians from the original group in the orchestra including Michael Spiro. Roberto went to Peru about a decade ago, so Michael and I stayed with the group and invited Eduardo Herrera, who is a singer born in Caracas, Venezuela, to perform with us. We expanded the repertoire by doing the best we could with my own creations. Let’s remember I am the arranger of the group, so I do some songs and we have one that is included in the new recording in which I wrote the music and maestro Carlos Caro from Cuba added the lyrics.

Orquesta La moderna Tradición at one of its shows

Although rhythms like danzón are not so popular, did you feel the acceptance of the public?

There were many people who knew danzón who began to notice that it was a very interesting genre due to the presence of the violins. As Roberto Borrell is a dance teacher, he teaches many of his students how to dance danzón, which is not easy because they should be affixed on each turn they have to make according to the sounds of the instruments.

Can you go from one genre to another in the same song?

Yes, we do that a lot. On our new album, we have rhythms with batá drums from music of Santería, which we use for our danzón songs. It sounds complicated when I explain it, but it is easy at the time of listening to it.

What makes Orquesta La Moderna Tradición different from other Latin music groups in the United States?

Well, I know no other group that plays danzón or charanga. There are two genres of popular dance music in Cuba that come from son montuno, which uses violins and flutes. In the case of charanga, the musicians use violins and flutes. Since the 70’s and 80’s, charanga is now no longer heard in the United States. In Cuba, neither do you hear danzón much. We are a group that has so many danzones in the repertoire. There are not too many groups that play cha cha chá. Me being an arranger, I try to create cha cha chá songs that are not copies of what was played by Orquesta Aragón and other bands in the 40’s and 50’s.

Given that music has evolved so much, what reaction do you perceive from the young public when you play charanga, cha cha chá, danzón and other rhythms?

Interesting question. For young people who do not know and are not salsa fans, our music sounds like salsa because it is difficult to distinguish the genres without knowing them well. However, I work as a music teacher and I have many groups of children, in which there are many salsa fans. They listen to Ray Barreto, Willie Colón, and Hector Lavoe. They also like charanga and understand it well. However, I think danzón is more difficult because it has to be a reflection of what people are feeling in their culture. Cha cha chá is simpler and innocent, but danzón is finer and refined. I think music can influence people and play its part in changing the direction of their culture.

Can you tell us a little bit about your performance at Yoshi’s?

Because of COVID-19, for a year and a half, we could not do anything. We could not even rehearse until the vaccine came on the market. We got this date with Yoshi’s because we have played there many times before as well as Yoshi’s in San Francisco. So, they gave us a date and we had the support of local DJs like Luis Medina, Chuy Varela and Jose Ruiz. We also made use of social media to promote us, sell our CDs and attract people to our shows. The staff of Yoshi’s was impressed because it is rare that a local band has been able to sell so many tickets. We were very excited to see so many people loving us and showing how much they love music. We have a large audience that is very loyal to us and has been going wherever we perform for over 20 years.

Orquesta La Moderna Tradición performing at Yoshi’s

What are your future projects?

We get everything ready for the repertoire of the new album. When I was in New York, I was working with Juan Carlos Formell, Juan Formell’s son, who is the bass player and took over his father’s position in Los Van Van. I was one of the first people he met here in the United States and we became very good friends. Then he told me that I could arrange any of his songs without any problem, so I have about four or five of his songs ready and some others that I have not finished yet. We have enough material to make at least two albums, but it is very expensive. One could only cost us about $15 to start with.

Cover art work for the Orquesta La Moderna Tradición new album El Encantado

Your social networks or websites

Official website: www.danzon.com

Facebook: https://www.facebook.com/OrquestaLaModernaTradicion

Bandcamp: https://orquestalamodernatradicin.bandcamp.com/album/encantado-2

Latest News From Events In Netherlands

Alfredo Rodríguez Trio, Latin Weekender 2021, And Alain Pérez Quinteto

Two back dance couples on stage ready to dance — November will be packed with Latin events this November in the Netherlands

With the arrival of the penultimate month of the year, it’s normal, that we are eager to enjoy and start having memorable moments now that 2021 is almost over. That is why, as a first step, we offer you the latest news about the most important Latin events taking place in the country known to be partially below mean sea level, the Netherlands.

Alfredo Rodríguez Trio Live

Alfredo Rodríguez in a blue shirt sitting in front of a white piano — In this Cuban Jazz concert, you will enjoy the most recent record production: The Little Dream

Get ready to delight yourself with the masterful sound of Jazz and its fusions with the virtuoso Cuban pianist Alfredo Rodríguez along with the participation of Michael Olivera (Drums) and Yarel Hernández (Double Bass) in a dazzling Latin Jazz concert on November 19^th at the Bimhuis auditorium in Amsterdam.

Energy, Latin Style, And Unique Enthusiasm Come Together In The Music Of This Trio

Alfredo Rodríguez (composer and pianist) was born into a family of artists whose father is the famous singer and TV host from the island of Cuba, Alfredito Rodríguez.

From a young age, he was a prodigy on the string instrument. “He studied classical piano at the prestigious Amadeo Roldán Conservatory and the Higher Institute of Art while playing popular music in his father’s orchestra at night. While performing at the 2006 Montreux Jazz Festival, he was discovered by his future mentor and producer, the legendary Quincy Jones.” Excerpt from his biography.

The 36-year-old pianist from Havana has classical training with nuances of styles of dance music from the bars of his hometown and the Progressive Jazz of Keith Jarrett and Chick Corea, which we can evidence in each composition and concert.

Rodríguez already has four studio albums, and one of his most emblematic presentations was made in 2019 with Richard Bona with a full house in one of the best concert halls in the world, Muziekgebouw aan ‘t IJ, located in the capital of the Netherlands.

Date: Friday, November 19^th

Venue: Bimhuis. Piet Heinkade 31019Amsterdam, Netherlands

Time: 8:30 PM

Ticket: € 23 (Sitting) / € 19 (Standing)

Latin Weekender 2021

Main couple dancing. Man with hat and woman with flowered top — In Latin Weekender 2021, you will have three days of the hottest parties of Salsa, Kizomba, Bachata, Tango, and Afro Dance

Latin Weekender is the Latin festival per excellence in the Netherlands. This sixth edition will feature 25 workshops at all levels, boot camps, a pool party, shows, a concert with the Pegasaya Orchestra, and nine social events of Salsa, Bachata, Tango, Kizomba, and Afro Dance.

Get away from the routine with your group of friends and lovers of Latin music for a long weekend and experience the passion for dance.

Remember to buy your tickets in advance as there is currently less availability for Latin Weekender 2020 reservations.

Date: Friday, November 19^th – Sunday, November 21^st

Venue: Center Parcs Limburgse Peel. Peelheideweg 25, 5966 PJ America, Netherlands

You Can Keep Reading: Do You Know In Which Country Rubén Blades Start his Tour?

Pegasaya Orchestra dressed in white shirt and black tie — The Pegasaya Orchestra played for six consecutive hours in the Rotterdam Summer Carnival Party Parade 1998

The Pegasaya Orchestra will be present at the Latin Weekender 2021, and you can’t miss it. The band, made up of ten musicians, was founded in 1985 in Tilburg city (the sixth most populous city in the Netherlands).

This orchestra, the greatest leader on the Dutch Latin scene, has participated in national and international festivals. They have been the first band to win the audience award twice as The Most Popular Group at the Rotterdam Summer Carnival (1995 and 1999). In February 2001, Pegasaya released their compilation album “The Best of the Pegasaya Orchestra” and also featured live performances on the Holland Casino chain in the Netherlands for a year (2007/2008). They also accompanied Elvis Crespo on May 28th, 2009 during his concert at the Heineken Music Hall in Amsterdam as well as Jeniffer López at her presentation at the Hennie Huisman Soundmix show in 2003.

Double Concert: Alain Pérez Quinteto + Alfredo Rodríguez Trio

Alain Pérez playing bass — Alain Pérez was recently nominated for the Latin Grammy 2021 for the album Cha cha chá: Tribute to the traditional together with the Orquesta Aragón and Isaac Delgado

Music Meeting Concerts presents a special Sunday in the Cuban style with the musical meeting between Alain Pérez Quinteto and Alfredo Rodríguez Trío in two unique performances on the third Sunday of November.

Music Meeting Festival 2021 organizes for this fall a series of concerts at LUX and Brebl in Nijmegen, LantarenVenster in Rotterdam, Concertgebouw Amsterdam, and MuziekPublique in Brussels. Music lovers will be able to enjoy unique evenings with challenging compositions and collaborations by music teachers from all over the world as a prelude to the Music Meeting Festival 2022.

Alain Pérez, the Cuban artist with numerous Latin Grammy Award nominations, will present his magic and charm with his fusion of Salsa, Latin Jazz, and Flamenco on November 21st in Nijmegen. Alain, known for leading the legendary singer Celia Cruz’s orchestra before he turned thirty, consolidated his musical career by becoming the bassist of Paco de Lucia for six consecutive years. Currently, Pérez has his band and is one of the most important musicians in his native country. Alain Pérez plays bass, guitar, piano, percussion, and sings; he also works as a composer, arranger, and producer. For this event, Alain (Bass and Voice) will be accompanied by Andy García (Piano), Inoidel González (Tenor Saxophone), José Montaña (Percussion), and Alain Ladrón de Guevara on drums.

On the other hand, Cuban pianist Alfredo Rodríguez breaks the third wall between him and his audience when he shares his skill and technique live. Attendees feel close to the refined play of the notes with the rhythm and harmony of the melodies that can be sung with ease. For this Latin event, Rodríguez (Piano) has in collaboration with his two friends: Munir Hossn (Bass / Spanish Guitar) and Michael Olivera (Drums).

Date: Sunday, November 21^st

Venue: Mariënburg 38-39, 6511 PS Nijmegen, Netherlands

Start: 3:00 PM

Admission: € 22.50