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Lengaïa Salsa Brava is killing it in Montréal

Latin talent can be found where you might least expect it and, this time we found it in the city of Montreal, Canada, a place that is cultivating an increasingly large and vigorous Latin music scene. On this occasion, we were thrilled to be able to talk to Giany-Frantz Huyghues-Despointes, who is the leader and founder of the orchestra Lengaïa Salsa Brava.

Lengaïa Salsa Brava is a 12-member salsa orchestra that was created in 2012 by Giany, who was also a trombonist and had some experience in the world of music before daring to create his own group.

The effort of all its members has enabled them to collaborate with great performers of the genre and win important awards such as the Canada Latin Awards in the category of ”Salsa Group of the Year” in a row in 2017 and 2018 respectively.

Lengaïa Salsa Brava has also performed approximately 30 concerts a year since its foundation and has participated in important festivals such as Toronto Salsa Festival, Festival Nuit Blanche de Montreal, Nuits d’Afrique, among others. The group was greatly helped by the fact that its members come from different countries such as French Guyana, Cuba, Colombia, Peru, Quebec, Spain and Venezuela.

This interesting journey shows us how hard this group has worked to achieve a place within the industry and all the potential they have to achieve much more than what was obtained. Today, Giany, its founder, shares a little more about himself and his orchestra Lengaïa Salsa Brava.

Giany, founder of Lengaïa Salsa Brava — Giany Huyghues Despointes, director and founder of Lengaïa Salsa Brava

Giany’s beginnings as a musician

Although the trombone is the instrument for which Giany is known, he started playing the trumpet from 10 years of age, which is when he began his interest in this branch of the art.

An important point is that in French Guyana, the country where Giany was born, salsa is not a predominant genre, since the most played by the French Guyanese is the mazurka, which is very similar to the Haitian compas. In the case of Giany’s family, they listened to a bit of everything, including salsa.

A turning point for the artist was watching Celia Cruz singing on tv one day. The musician had never heard the Cuban singer before and it was an incredible experience for him, as her deep voice, colorful outfit and wig caught his attention at the time.

Because of her deep voice, he thought she was a man, but his mother explained to him who Celia was and, months later, took him to a concert to see her live. That performance of ”La Guarachera de Cuba” marked him so much that he would begin to lean towards music in the future. Today, he says that Celia is a spiritual mother to him, as she was his great inspiration.

Along with being a fan of the Cuban singer, he wanted to learn to play instruments and initially opted for the piano and the guitar, but that changed when his Spanish teacher at school gave him a trumpet and he discovered that he really liked to play it.

Some time later, he graduated from the national school of music in his country and, by the time he turned 18, Giany noticed that his musical skills excelled more with the trombone than the trumpet. This is how he decided to choose the trombone as his main instrument and so it has been to the present time.

He started playing classical music with that instrument but soon discovered that he wanted to return to the genre that captivated him when he was just a child, so he dared to create a group in France, where he studied aviation. The thing is that he went to live in Canada six months later and had to abandon the plans he had at that time.

Founding of Lengaïa Salsa Brava

Giany arrived in Canada with the vision to create another group in his new country of residence, but he did not know any musicians yet, so he moved into action and started placing ads on social networks and other virtual means to communicate with artists who were interested in joining his project.

The results were amazing and there were many musicians who contacted Giany because of their interest in the concept proposed by him. With this group, he started assembling the orchestra in order to give form to what Lengaïa Salsa Brava is today. The orchestra has six years with the same staff and format it presents to the public today.

Huge number of nationalities in Lengaïa Salsa Brava

As for the large number of nationalities living in the orchestra, Giany has said that all ”are part of a big family” hinting that national origins have not been a problem for the smooth development of the group. In addition to that, the salsa brava is a genre widely known worldwide, so the members of the orchestra knew in advance what they were getting into.

To what we must add that these guys work or have worked in other salsa brava orchestras, so they were pretty much steeped in everything related to this beautiful music.

Giany says it is very easy to work with his musicians because they always know how to perfectly interpret what he wants.

Lengaïa at one of its concerts — Lengaïa Salsa Brava at one of its concerts

Origin of the name Lengaïa Salsa Brava

When Giany was looking for a name for the group, he wanted something different and not very Latin sounding. He also wanted people to ask what the name meant, so we have fallen into the trap.

The musician explained that he wanted something that refers to how explosive, energetic and aggressive his music is, so he chose the name inspired by a Tanzanian volcano called Ol Doinyo Lengaï that spews black lava. ”When you see a volcano exploding, you imagine something explosive and aggressive at the time. That’s what we want to reflect with our music”. Also, the fact that its lava is black is something different from other volcanoes, as is the group’s orchestration and technique,

Activities outside Lengaïa Salsa Brava

Giany wanted to emphasize that all the members of Lengaïa Salsa Brava have other jobs and work activities outside the orchestra. In his particular case, he works as a commercial pilot, but in his spare time, he devotes himself as much as he can to his great passion which is music.

So far, Giany and the other members of the orchestra are unable to live solely on music, but they do their best to keep the group together and are there to fulfill Lengaïa Salsa Brava whenever necessary.

Although the orchestra has been a second employment option, it is undeniable that this is their great vocation and the engine that moves his life, so there will always be space for it.

“The Sun of Latin Music” the first Grammy Award for Salsa Eddie Palmieri’s historic album

It has been 49 years since “The Sun of Latin Music”, Eddie Palmieri’s historic album, which marked a fundamental milestone in the history of Latin music by becoming the first production to win a Grammy Award in the category of Best Latin Recording, awarded on February 28, 1976.

"The Sun of Latin Music" the first Grammy of Salsa Eddie Palmieri's historic album — “The Sun of Latin Music” the first Grammy of Salsa Eddie Palmieri’s historic album

Recorded in New York at Electric Lady Studios, the album was released by Coco Records on Wednesday, September 18, 1974.

The album featured vocals by Lalo Rodríguez, who was only 16 years old at the time.

It includes: ‘Nada De Ti’, ‘Deseo Salvaje’, ‘Una Rosa Española’, ‘Nunca Contigo’, ‘Un Día Bonito’, ‘Mi Cumbia’.

“The Sun of Latin Music” proved to the world that Latin music, especially Salsa, was an honorable art form and opened the doors for many other Latin artists to receive solid recognition for their talent and work.

Eddie Palmieri

The sun of Latin music

MP, 1990. MP-3109 CD

Recorded in 1975

The Sun of Latin Music was a controversial album. It was too far from the easy formula of the middle salsa boom – what César Miguel Rondón calls the “mtancerization of salsa”.

“Ahead of its time” was one of the comments; “a piece like Un día bonito, had to be mutilated” with a 6-minute piano intro just to be able to play it on the radio; a danzón (Una rosa española) with lyrics by the Beatles; a cumbia that is not very Colombian, despite the name (Mi cumbia) and the chorus that says “very Colombian…”.

Nevertheless, this album represents the strength of the spirit of salsa: the encounter between the harshness of the street and the majesty of the most sophisticated musical sound.

One of the best albums of Caribbean music ever released.

Palmieri was always in search of something new. The Sun Of Latin Music is the culmination of a phase that began with an earlier album, Sentido (1974).

This time he chose the Panamanian Vitín Paz for the trumpet solo, Barry Rogers for his trombone and an unusual tuba, which formed a kind of basso continuo, and besides Barry, José Rodrigues, who for a long time was, and despite his absence still is, his most emblematic trombonist.

Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.

Ronnie Cuber and Mario Rivera were chosen as the first saxophonists in a Palmieri orchestra.

For many it is Palmieri’s best album, the most experimental and universal. One that borders on academic music, but without forgetting the dancer.

With spices like the violin of Alfredo de la Fe, who contributes his creativity everywhere, the tuba, the penetrating power of the brass, the overwhelming percussion.

Thus, Una rosa española is a modern danzón that later becomes a montuno that revives the joyful Palmerian game with the dignified uproar of trumpets, saxophones and trombones.

A young man of only 17 years, Lalo Rodríguez, who years later would become the standard-bearer of what was called salsa erotica, was chosen as the singer. Another novelty: the timbre of his voice, with a very high register, and the way he faced the montuno, which did not correspond to his age, caused different reactions.

But the most amazing thing about this 1974 album is the 14:20-minute track Un día bonito, arranged by Barry Rogers, which would keep even the most trained dancers busy. But Palmieri wasn’t just thinking about leg sets or dance floors.

The piece begins with a long piano interlude, the same structure he used in the track Adoración from the album Sentido, which would mark a new musical phase in his career.

It was more than experimental, it had some electro-acoustic music; no one had ever had the audacity to do that on a salsa album. Palmieri made the leap, he could do it, it sounded more like Stravinsky or Milhaud than Puente or Fania.

Suddenly, back in the piece, the orchestra bursts in, harder and heavier than ever, wishing the city of Los Angeles a beautiful day and San Francisco a “warm greeting,” and it is certain that Keruack and Borrough heard the call.

Then Eddie Palmieri was consecrated by the intellectuals and the educated and also by the Grammy.

Eddie Palmieri

The sun of Latin music

Produced by Harvey Averne

Eddie Palmieri: piano

Lalo Rodríguez: vocals

Vitín Paz: trumpet

Virgil Jones: trumpet

Barry Rogers: trombone, tenor tuba

José Rodrigues: trombone

Ronnie Cuber: Baritone Saxophone, Flute

Mario Rivera: Baritone Saxophone, Flute

Alfredo de la Fe: Violin

Eddie Guagua Rivera: Bass

Tommy Chuckie Lopez, Jr.: Bongo

Eladio Pérez: conga

Nicky Marrero: timbales, percussion

Peter Gordon: French Horn

Tony Price: Tuba

Jimmy Sabater: Chorus

Willie Torres: Chorus

Tommy López Sr.: conga

Tracks: Nada de ti; Deseo salvaje; Una rosa española; Nunca contigo; Un día bonito; Mi cumbia

Arrangements by René Hernández and Barry Rogers

One of the most valuable pieces in the exhibition “Rhythm and Power: Salsa in New York”, which will be presented until next November at the Museum of the City of the Big Apple, is the first Grammy in the history of Latin music, awarded in 1976 to Eddie Palmieri for his album “Sun of Latin Music”.

Sources:

Anapapaya

Salsero Radio

D j. Augusto Felibertt

Also Read: Salsa and its detractors “Caiga quien Caiga”

Yani Borrell ”El Elegante de La Salsa”

How Yani became the artist he is now

We were fortunate to speak with the Cuban singer based in Canada, Yani Borrell, who has been kind enough to spare us a few minutes of his busy schedule to reveal unpublished details of his beginnings in music, departure from Cuba, arrival in Canada, current projects, among other things.

Then these were the most important issues that came up in the conversation we had with the artist for a little over half an hour.

Cuban singer Yani — This is Yani Borrell, a famous Cuban singer based in Canada

Grupo Constitución

Yani joined Grupo Constitución being just a 17-year-old. In his native city of Camagüey, there was a small square where concerts were held and Grupo Constitución used to rehearse there. One day, the young man was going through the place and was struck by what the musicians were doing at that moment.

Suddenly, the musical director asked the vocalist to make a little more complex melody, but failed. However, Yani perceived the sound and reproduced it with his lips loudly. That got the music director’s attention so much that he asked the young man to come over and show the singer what he had done.

When he repeated it, the musical director of the group was so fascinated that he asked her to join them. This is how Yani began to study music to a more professional level and to hold the necessary auditions to be able to belong to an orchestra in Cuba (this was a mandatory requirement in the country to belong to a musical group).

After attracting the attention of other groups due to his talent, Yani was contacted by a more renowned orchestra, Yani decided to leave Grupo Constitución and go with his new companions to seize this new opportunity that life had to offer.

Making music in Cuba

We know that the political and economic situation in Cuba has been complicated for some decades, so we wanted to know how Yani lived these years in his native country while devoting himself to music.

That’s when he started telling us that he had to live through the terrible Special Period, one of the worst crises experienced by the island, so logically he did not have the necessary resources to devote himself fully to his passion and put aside any other job at that time.

Yani on stage — Yani Borrell performing on stage

This is because Yani thought that being in a mildly famous orchestra would bring him the benefits he was looking for, but unfortunately, it was not so. Rather, he was really struck with the difficult reality that sometimes performances and concerts were paid several months later.

Yani and many of his colleagues had to borrow in order to survive and wait for the pay day to settle the debts with those same people. This situation persisted for quite some time until he could work for an orchestra established for tourism, with which payments were a little more regular.

However, she had to make a living doing other activities outside the world of the arts. In his case, Yani was self-employed and even had a small mobile coffee shop where he sold sandwiches. At the same time, he studied music and worked with some orchestras, since it was impossible to live only from music.

The first level orchestras that toured internationally always pursued better financial compensation for their musicians, but salaries were still insufficient to alleviate the crisis experienced in Cuba.

Moving to Canada, Toronto

The process to live Cuba and move to Canada was extremely hard. Yani had already toured the North American country for some time, in fact, he was in about 25 Canadian cities during his tours, so he already knew the territory quite well.

Before the second tour he would do in that country with his orchestra of the day, the artist was very clear that he was going to ”defect from Cuba” (that is how the act of leaving the country at the first opportunity is called in Cuba).

While it is true that his standard of living had improved considerably with this international orchestra, this did not offer the stability he wanted, so he resigned from the group, decided to stay and live permanently in Canada and start a new life.

Today, he is completely satisfied with the results of his decisions and knows very well that he has done the right things for his career and his life in general.

Yani on radio — Yani Borrell during a radio interview

Adaptation to the Toronto music scene

One of the hardest decisions was already made, but there were still some challenges to overcome. He had to face language and cultural barriers in order to stand ut and make a place in the city’s Latin music scene.

At the same time, he worked in factories and even start his own business. He says there were times when he did not even sleep because he played with several local orchestras at the same time, so dividing his time between each of them was a titanic task. However, all the effort paid off.

After being with one of the most renowned orchestras in the area, Yani realized it was time to create his own project, which he called Yani Borrell & The Clave Kings.

After all this, he began to be prompted by a group of people who wanted to help him and pushed him to keep growing, thanks to which he released his first solo album in 2013.

C.W. Entertainment

The artist management company C.W. Entertainment was very important in Yoni’s growth as an artist, because at one point it joined forces with the artist and boosted his career to such an extent that this team made him one of the most important salsa artists of the time in Canada. So much was the support that it was this label that filmed his first two music videos.

Although he no longer works with that company for a year and a half, Yani assures that he still has an excellent relationship with its team and thanks these people for everything they have done for him.

Today, the Cuban already has his own record label and is entirely independent in this aspect.

Yani Borrell receiving recognition at the Caribbean Music and Entertainment Awards

El Elegante de La Salsa (The Elegance of Salsa)

One of the names by which Yani Borrell has been known throughout his career is ”El Elegante de La Salsa” due to his style when singing in this genre and the use of formal wear in concerts.

Regarding the story of how the nickname came about, it was precisely a social communicator who was very well liked in the city of Toronto, constantly interviewed the Cuban singer and started refering to him as ”the heartthrob”.

However, this journalist was the host of the concert in which Yani released his album and referred to him as ”El Galán de La Salsa” (The Salsa Heartthrob) at the moment of presenting him to the public.

From there, the public started refering to him as ”el galán” and ”el elegante”, which led one of his managers to tell him to start calling himself ”El Elegante de La Salsa”.

Future performances

Recently the nominees for the Latino de Oro Music Award have been announced, among which Yoni Borrell appears as one of the nominees for the ”Impact Singer with International Projection” category.

This was news that Yoni received with great pleasure due to so many years of effort to lift his artistic career. This and each one of the recognitions that the artist has received throughout his career has made him feel very proud and sure that he is on the right path.

He also revealed for the first time that he will be one of the artists invited to perform on stage that day to animate the event in the city of León, Spain.

To end the conversation, Yoni finished giving a message to Cuban musicians in which he said that they should always focus on discipline, which he defined as ”the mother of perfection”. He also invited these same young people not to despair and to be constant, since this career is an endurance race, not a marathon.

John Narváez and Elizabeth Rojas from Salsamania

John and Liz from Salsamania

Between days 23 and 25 March, 2023, the San Francisco Salsa Festival took place, which brought together some of the cream of The Bay Area Latin music scene. One of those attending this great event was the main editor of International Salsa Magazine, Mr. Eduardo Guilarte.

On site, he had the opportunity to share with other guests and some of the organizers such as Elizabeth Rojas, affectionately known as Liz, and John Narváez. We had the chance to talk with both dance professionals to know more about their beginnings, festivals and projects. Do not miss it!

John and Elizabeth — Colombian dancers John Narváez and Elizabeth Rojas

Beginnings

After several attempts to schedule a meeting with John and Liz, we finally managed to talk with these Colombian dancers and entrepreneurs, who began by thanking us for the contact and the opportunity to promote their passion for salsa and the community they represent.

This love they have for the aforementioned musical genre has much to do with their roots. Both were born in Colombia and left the country when they were 12 years old (they are the same age) because of the violent situation caused by the guerrilla that existed in those years.

Although those were hard times, John says these were very nice years from which he has fond memories. He remembers almost all his family members singing or playing an instrument, while he was the only dancer. All this influenced him in such a way that Latin music remains his north after so many years.

Moving to the United States

Since the social situation did not allow them to live in their country, they decided to move to the United States and apply for political asylum. At the beginning, it was not easy and the focus was on working hard to get ahead in this new country and to learn English. However, all that changed over time.

With the arrival of economic and family stability, priorities changed. John comments that his interest in music and dance perked back up due to the family gatherings that his relatives celebrated such as birthdays, quinceañeras, weddings, among others.

Although at the time dancing was not considered a serious profession, both John and Liz began to practice it at amateur level. Once they turned 21, they started going to the most popular salsa clubs, but it was all for recreational purposes. It was years later before they began to analyze all the technical and historical part of dancing to understand it better and take it more seriously.

John, Liz, and Barbara — John and Liz with Barbara on Despierta América

Dancing as a profession

John and Liz started to take dancing seriously in 1999. They both attended a three-day salsa event in Los Angeles, but what they did not know is that this was the first world salsa congress in America.

This gave them the opportunity to share with the best salsa dancers in the world and they saw such impressive things that they were inspired to return next year with a well-established dance team with which they could participate fully in these activities.

Being full of motivation, they decided to create Salsamania Dance Company and performed with their team at the festival. They started doing the same thing every year, which helped them gain experience and evolve their styles.

After earning the trust of the festival organizers thanks to their talent and professionalism, they were given the opportunity to start teaching salsa workshops at the aforementioned congress. This is how little by little John and Liz began to build the reputation and credibility they have today.

In 2004, it got to a point where John took the important decision to quit his job to devote himself to dancing and Liz was quick to do the same. His resignation came with the opportunity to take a three-month trip to Hong Kong to teach salsa in a community where people did not dance it.

They managed to build a community from nothing, since at that time, Hong Kong was not a place where people listened to salsa. However, everything went well and the dancers managed to seamlessly connect with the local audience. As John rightly said, ”salsa is a universal language and you don’t have to speak that language to feel the music”.

On returning to the Bay Area, they began to practice dancing as a profession in the United States.

On this point, Liz commented that her parents became very upset with her when she quit her job because of dancing, but today, they admit that it was the right decision and support her totally.

Liz and John dancing — Liz and John during a social dance in Boston

Salsamania Dance Company

Liz told us that it was difficult to create Salsamania Dance Company because it requires a lot of discipline and healthy coexistance between different types of personalities to create a group like this and keep it together. Fortunately, John is an industrial psychologist, so he helped to prevent these aspects to be a problem.

Basically, Liz is responsible for the company’s management and John is the one who takes care of the human part of all the staff.

They started the whole process like any regular company and drew up the contracts for all those who were going to work with them, making Salsamania a much more established, structured and serious project in the eyes of everyone else. Today, it is one of the largest companies in the Bay Area.

They also took it a step further and built a salsa academic program with a thoroughness and detail that has not been seen in other projects of this kind.

San Francisco Salsa Festival

San Francisco Salsa Festival is one of the biggest salsa events in California and the United States in general and we were fortunate to have representation there with our editor Eduardo Guilarte.

It began to be celebrated in 2008 with the support of international salsa promoter Albert Torres, who was a fundamental piece in the development of the festival and talent recruitment for an event of this size, as there were many things John and Liz had to learn. That is why they are both incredibly grateful for what the congress organizer did for them back then.

To recruit artists, the dancers only require candidates to be good teachers, to share with the salsa community and to put on a good show for the audience.

They also often invite colleagues they have known for years and some recommended to whom they give them the opportunity to shine and make themselves known during those days.

Every year, they look for dancers, dance instructors, DJs and live orchestras. For Liz and John, the thing about live bands is very important, as they are concerned that there are so many clubs and venues that no longer hire these talents. This year, they focused on local bands that play on Thursdays and Fridays in San Francisco and were very happy with the results.

It is expected that the next San Francisco Salsa Festival is scheduled between days 22 and 24 March, 2024 at the same venue, which is the Marriott Waterfront Hotel.

The orchestras hired to perform for next year are Cabanijazz, The Latin Rhythm Boys and Orquesta Boyacán. The dancing couples are Alex and Judy from Colombia, Colombians Felipe from Colombia and Kathe and Mauricio and Danny from Mexico.

John, Liz, and Oscar D’ León — John and Liz with Venezuelan singer Oscar D’ León

Difficulties in the pandemic

As dancing is an activity with a lot of physical contact and closeness, we were curious to know how they lived the pandemic and what they did to keep their project afloat in this situation.

Though they admit that those months were not easy, they have always been very disciplined with their money and had enough to resist as long as possible without working.

They tried to make up for lost time by teaching classes via Zoom as did most of their colleagues and designing new choreographies to apply when they went back to their usual activities.

In addition to this, both had not spent time with their respective families in a long time, so they also took advantage of the absence of work to reunite with their loved ones and take up those important contacts that were lost due to stress and routine.

Betsy Colombian Salsa, Bolero and Son Cubano Singer

Betsy, Colombian singer who began her career at the age of 17, in Bucaramanga in the tropical genre.

She is part of the most recognized orchestras of her region, standing out as one of the most powerful voices of the genre.

Betsy Colombian Salsa, Bolero and Son Cubano singer

She recorded with local orchestras, tropical productions and at the same time consolidated as a commercial voice.

Her love for salsa, bolero and son has led her to belong to important orchestras such as RUMBATA directed by maestro Edwin Rey and LA JOHND BAND directed by JOHN DENNIS ESCOBAR from Cali.

Betsy records with the maestro Edwin Rey, the album “SINCERIDAD”, interpreting in the single PROMESAS, she a song called MI CUMBIA, composed by MARIO ENCALADA, CHILENO and Colombian folklor is heard again with a young and modern oxygen.

In 2020, she recorded the single “SENTIR”, original arrangements of You Salsa de Perú, generating a very positive result to the ear of the public lover of romantic salsa.

In 2021, with the help of producer ALBERTO RUEDA and MS PRODUCCIONES, he releases the album “Una vida de Son”, composed of 10 salsa hits, among which stand out: (Los olores del amor, Siempre Seré, Si te Preguntan, Caretas), in a new, fresh version with that wonderful Cuban touch.

Betsy, Colombian singer who began her career at the age of 17 in Bucaramanga in the tropical genre. — Betsy Colombian singer who began her career at the age of 17 in Bucaramanga in the tropical genre.

With this album, she was nominated as best female singer SALSA, in the last edition of the CRISTO REY Awards, in the city of CALI, which took place on October 21, 2021.

In 2022, she released the album esencia, sabor y son, which contains 10 tracks of emblematic salsa songs, in Cuban son version, such as DIME POR QUÉ, CASI TE ENVIDIO and with an interesting bet on the songs YA LO SE and UN SUEÑO y NADA MÁS, by Calle Real and Polo Montañez respectively.

At the end of 2022, she won the PANORAMA DE PLATA AWARD, as PERSON OF THE YEAR IN SANTANDER, for her outstanding musical performance during the year and for taking the Department to other regions of the country.

Betsy At the end of 2022, she was awarded the SILVER PANORAMA AWARD.

For 2023, the album “YO SOY” is released, which contains the title “Si ya no estás”, written by maestro Jorge del Valle, Cuban composer, with arrangements by maestro Alberto Ardila Rueda and recorded in the studios of MS PRODUCCIONES in Bucaramanga.

In addition, this musical cut is part of the new record production entitled “Yo Soy Betsy”, which has several songs such as: “Caballo Viejo”, “Cuando”, “El Me Mintió”, “Manantial de Corazón”, “Mentira”, “No Sabes Como Duele”, “Que Suene Mi Campana”, “Que Vas Hacer”, “Yo Quisiera” and “Si Ya no Estas”.

Betsy, Colombian singer of SALSA, BOLERO Y SON CUBANO presents her album “YO SOY BETSY”.

By 2023, the album "YO SOY" is released, which contains the title "Si ya no estás". — By 2023, the album “YO SOY” is released, which contains the title “Si ya no estás”.

Betsy Moreno, Colombian singer, specialist in Bolero, Salsa and Son Cubano, launches her album: “YO SOY”, which contains the title: “Si ya no estas”, written by maestro Jorge del Valle, Cuban composer, with arrangements by maestro Alberto Ardila Rueda and recorded in the studios of MS PRODUCCIONES Bucaramanga – Santander – Colombia.

“Si Ya No Estas” is a romantic song arranged by Alberto Ardila Rueda, a song for lovers of romantic son.

In addition, this song is part of the new record production called “Yo Soy Betsy”, which has several songs such as: “Caballo Viejo, “Cuando”, “El Me Mintió”, “Manantial de corazones”, “Mentira”, “No Sabes Como Duele”, “Que Suene Mi Campana”, “Que Vas Hacer”, “Yo Quisiera” and “Si Ya No Estás”. This is a highly recommended production for lovers of good music and is already available on all streaming platforms.

Follow BETSY MORENO’s career on her social networks and all digital platforms.

Instagram: @betsycantanteoficial

Facebook: betsycantantebucaramanga

Youtube: Betsy Cantante Oficial

Tik Tok: @betsycantanteoficial

Twitter: @betsycantanteoficial

E-mail: [email protected]

Contacts and Bookings: + 57 316 6348316

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