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Search Results for: salsa

La Candela Salsa Orchestra

La Candela Salsa Orchestra, the band is made up of eight musicians settled in Tenerife Canary Islands

La Candela Salsa Orchestra - La Resistencia
La Candela Salsa Orchestra – La Resistencia

La Candela is a small independent orchestra that in recent years has made a place for itself among the preferences of salsa dancers.

Her proposal is aimed at “hooking” the dancer with the original rhythms of salsa such as son montuno, guaguancó, mambo or chachachá, recovering the sound of the era in which what is known today as Salsa was forged.

The band is made up of eight musicians based in Tenerife (Canary Islands).

Its target audience is the salsa dancer on1 & on2, a great consumer of this type of music.

However, they have also conquered the hearts of the salsa music lovers who are staunch consumers of hard sauce.

La Candela Salsa Orchestra
La Candela Salsa Orchestra

The live La Candela show is a roller coaster of sensations that aims to spread joy and good vibes with a varied repertoire in terms of the danceable rhythms that are included within the salsa genre.

With him they have been presented in Spain and in other European countries such as Germany or Switzerland throughout these five years of activity.

La Candela’s style is inspired by the repertoire and execution style of the master Joe Cuba and his Sextet.

They have brought back to life some of their best classic songs that are still a reference for the dancer today.

With this spirit, her first musical project was born: On Fire, which was released in November 2015 and was a very good business card.

The album includes some classic songs by maestro Joe Cuba, such as “La Palomilla”, “Clave Mambo” or “El Ritmo de Joe Cuba”, along with self-written songs such as our first two singles, entitled “Es Guaguancó” and “For her”.

Members of La Candela Salsa Orchestra
Members of La Candela Salsa Orchestra

In 2017 and thanks to the executive production of Batlei Productions, a new project by La Candela was born with a closer sound and with many new features, without leaving behind our essence, headed by the first single titled “Se Prentó”, On Time moves between the primitive and the new, rescuing jewels and offering deserved tributes to some of the great pioneers of Afro-Cuban danceable music, like Tito Rodríguez or Frank Grillo “Machito”.

They are currently preparing what will be their third studio album with a new line-up of Musicians

We are also in the process of reserving the album “On Time” with a crowdfounding project, in which 300 LPs of this production have been put on sale in a limited edition: https://qrates.com/projects/20837- on-time In addition, we have launched a merchandising store where you can find all kinds of products with the unmistakable seal of La Candela Salsa Orchestra: https://lacandelasalsa.threadless.com/

La Candela Salsa Orchestra Disco
La Candela Salsa Orchestra Disco
  • Video clip of “Sin Ti”: https://youtu.be/WkV2hvCeXhE
  • Video resumen Suiza: https://youtu.be/whUDfAx0Fwc
  • Video resumen Benidorm: https://youtu.be/j3puMxehsQk
  • Website: http://lacandelasalsa.com
  • Facebook: https://www.facebook.com/lacandelasalsa
  • Instagram: http://instagram.com/lacandelasalsa

We continue working to enhance Salsa

This month I want to continue sharing good news for everyone in NY and in the Salsa world. On this occasion, Oscar Hernández and Spanish Harlem Orquesta join Spaha Salsa Gallery Museum. Oscar has donated an incredible piece that we will be exhibiting immediately.

Four times Grammy Award Winner, Oscar Hernández, has long been considered one of the most gifted and prominent pianist / arrangers on the contemporary Latin, Latin-jazz and salsa music scene. He has achieved legendary status for his prolific career spanning now over 40 years.

Hernández is the leader of the world renowned Spanish Harlem Orchestra. Won the Grammy for their second CD release, “Across 110th Street” and winning yet another Grammy with their 4th CD “Viva La Tradition” and won their 3rd Grammy with “Anniversary” in 2019. Oscar was the music producer as well as pianist / arranger on all CD’s.

Since the band’s inception in the year 2001, SHO has garnered numerous awards and world acclaim as one of the finest exponents of Salsa and Latin / Jazz music. Spanish Harlem Orchestra is generally considered one of the best Salsa & Latin Jazz Orchestras today and one of the finest music ensembles in the world.

The Bronx native has produced such artists as Ruben Blades, Paul Simon, Willie Colón “Carabali”, Daniel Ponce, Rafael Dejesus, Eddie Torres, Phil Hernandez, Steve Kroon, Juan Luis Guerra, etc.

In addition to being Rubén Blades pianist, arranger and musical director, Oscar Hernández has enjoyed a prolific musical career recording and performing with such world renown artists as Latin music king Tito Puente, Queen of Salsa Music Celia Cruz, Latin Pop Star Julio Iglesias, Juan Luis Guerra, Ray Barreto, Earl Klugh, Dave Valentin, Johnny Pacheco, Ismael Miranda, Pete “Conde” Rodríquez, Oscar De’ Leon, Luis “Perico” Ortiz, “Libre” “Grupo Folkorico Experimental “, Willie Colón, Kirsty MacColl, etc. Oscar’s musical exploits include working as Musical Director / Conductor, arranging and producing the music for “The Capeman,” pop-rock icon Paul Simon’s Broadway musical.

Oscar is also the music producer of “The Capeman” cast recording. Oscar was Musical Director / Arranger for the hit shows “Quén Mató a Hector Lavoe” and “La Lupe” at the 47th Street Theater. He was also, Music Supervisor / Arranger for the show “Four Guys named Jose & Una Mujer named María” Oscar also has released 2 CD’s as a solo artist, Oscar Hernández & Alma Libre, titled “The Art of Latin Jazz” and “Love The Moment ”on Origin Records. It is a true honor to have the donation of an incomparable musician like him in our museum. Thanks, Oscar!

Another of the great figures of the Spanish Salsa Harlem Orchestra is Luisito Quintero, the timbalero from Venezuela. Luisito Quintero was born in Caracas, Venezuela where he had his first contact with music. Cultural influences of Afro-Venezuelan rhythms were always present at home. His father, a highly respected percussionist, taught and encouraged Luisito to play the timpani in his teens.

Luisito Quintero
Luisito Quintero

Quintero continued to refine his playing level with the Venezuela Symphony Orchestra, where his technique for playing the timpani soon caught the attention of his colleagues. Subsequently, he joined the popular music groups Guaco and the Trabuco Venezolano and traveled with Oscar D ‘León with whom he achievedan important international projection. The live performances, recordings and projects in which he has participated are countless.

He has made his mark as a percussionist with figures such as Tito Puente, Eddie Palmieri, Marc Anthony, Gloria Estefan, Richard Bona, Jack Dejonette, Willie Colón, George Benson, Natalie Cole, Herbie Hancock, Nuyorican Soul, Masters at Work, and of course, The Spanish Harlem Orchestra. Luisito is part of the group Elements of life, with whom he has toured for the last years.

The band has shared stages with major artists in the market such as Robert Plant, Lauryn Hill and Alicia Keys, performing at festivals such as Montreux Jazz Festival in Switzerland, North Sea Jazz Festival in Holland, Roskilde in Denmark, Blue Note in Japan, Jazz Cafe in London, England and the legendary New Morning Cafe in Paris, France. Without a doubt, an impressive and worth mentioning career.

And if we are talking about incredible careers in this edition, I can’t stop talking about Adalberto Santiago and the new projects of the 60th anniversary with great artists of the genre. This his time I can tell you about Cuco Peña’s string arrangements, the participation of Nelson Jaimes and, of course, the help of my friend Freddy Miranda. At 83 years old, he is still in the rumba. There is less and less to show the world this historical piece for the world of salsa.

Johnny Cruz and Adalberto Santiago - Salsa
Johnny Cruz and Adalberto Santiago – Salsa

I also want to remember Raphy Leavitt, on the fifth anniversary of her death on August 5. In 1970 Leavitt organized an orchestra that should have a different sound and style. He wanted to select the repertoire of songs of the orchestra with a particular, positive, social and even philosophical message; and founded “La Selecta”. Since its inception, La Selecta has featured Coamo-born Sammy Marrero as one of its singers.

Marrero, who has always been strongly influenced by the music of the Puerto Rican jíbaro, had an opportunity to teach his dramatic singing style in his first hits as the almost hymn “Jíbaro Soy”, a very patriotic and unusual Puerto Rican song, “Payaso”, and “The Good Shepherd”. However, it is in the band’s signature song, “La Cuna Blanca,” that Marrero’s voice is for the most part associated.

Raphy Leavitt
Raphy Leavitt

In 1978, Leavitt discovered a young singer named Tony Vega, who became a legend among salsa singers on his own merit. Raphy Leavitt and La Selecta were responsible for the introduction of salsa in many countries. In the 1980s, Leavitt became an independent producer and produced two albums for Bobby Valentine.

In the 1990s, he established his record recording company, R.L. Records. The company’s first production was the album titled “Provocame,” which became a hit in Puerto Rico, the United States, and South America.

In 1978, Leavitt discovered a young singer named Tony Vega, who became a legend among salsa singers on his own merit. Raphy Leavitt and La Selecta were responsible for the introduction of salsa in many countries. Raphy passed away in Miami as a result of an operation of the hip prosthesis that had been installed due to an accident in 1972, and that he had become infected. Leavitt passed away in his sleep. Raphy will always be endorsers of the Salsa Museum with the clown suit of its 25th anniversary.

I also want to thank the constant and significant support for the Museum, from my friend Sully Díaz, who as endorser of the museum, is always working to promote and make our work reach more people. Sully was born in New York, the daughter of Sephardic parents from Puerto Rico. She began her career as a model, and at the age of 17 she began acting in Spanish soap operas, making herself a well-known figure on television in Puerto Rico.

In 1983 she became popular throughout Latin America with the role of Coralito, in the telenovela of the same name. From that moment on, Sully was known as “the queen of Puerto Rican soap operas.” In the early 1990s, Sully moved to Hollywood and appeared on various television shows as a guest star and worked on a few movies.

Johnny Cruz and Sully Diaz
Johnny Cruz and Sully Diaz

In the mid-1990s, Sully joined four other Latina women (Dyana Ortelli, Marilyn, Ludo Vika, and Lydia Nicole) in a comedy group called “The Hot & Spicey Mamitas”. They sold out at several Los Angeles comedy clubs. They recorded a CD live called simply The Hot & Spicey Mamitas.

In 2002 Sully appeared in the play La Lupe: My Life, My Destiny, in which she played the Cuban singer La Lupe. Shortly after the execution of this work, Sully made her own production of La Reina, La Lupe. This work toured all of Puerto Rico and was a great success in Florida. That same year, she starred in the Puerto Rican thriller “Cuéntame tu pena”, in which she plays Isadora, a radio host who receives a call from a woman who is killed while on the air.

In 2004 Sully toured with Gilberto Santa Rosa in a play called “The True Story of Pedro Navaja.” In 2009 Sully appeared in the movie Princess Protection Program as Reina Sofía, along with Selena Gómez and Demi Lovato.

Papo Rosario and Isidro Infante - Photo
Papo Rosario and Isidro Infante

Recently, Papo Rosario released his new single “Gracias” produced by arranger and musician Isidro Infante. Rosario appreciates being alive and being able to walk after being bedridden as a result of a car accident. Papo Rosario is a world-class artist who has put the name of Puerto Rico on high. Rosario, who retired in 2019 from the group considered the “University of Salsa”, El Gran combo de Puerto Rico, after having an accident and presenting health problems, affirms that he already feels ready to resume his musical career with the Launch of his first solo production by producer Isidro Infante. I wish you success in this new beginning.

The invitation to tune in to the new Fm / Internet radio station on Live365.com: Salsagallery continues. Great music, artist interviews and much more.

Oscar Hernandez
Oscar Hernandez

At the Spanish Harlem Salsa Gallery Museum we are happy to affirm that New York City is preparing to resume its activities little by little. We hope to have more news soon and that we can return to normal soon.

By Johnny Cruz, ISM Correspondent, New York, New York City

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
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
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.

Dimensión Latina Patrimonio Nacional
Dimensión Latina Patrimonio Nacional

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
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
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

Read also: Freddy de Jesús Ortega Ruiz “Coco & su Sabor Matancero”

Tito Nieves The Pavarotti of The Salsa

Humberto Nieves, (Río Piedras, Puerto Rico, June 4, 1959), better known as Tito Nieves, is a Puerto Rican salsa singer of American origin, known by the nickname of The Pavarotti Salsa.

Tito Nieves

Tito Nieves

Tito Nieves began his career while participating in Orquesta Cimarrón, a group that originated in New York.

In 1977, he teamed up with singer Héctor Lavoe and his Orchestra and joined the Conjunto Clásico.

In 1979 in New York he recorded the production with the outstanding boricua composer Jhonny Ortiz for the Fania Records label that same year in Puerto Rico under the support of the New Generation label. Tito Nieves recorded with the also boricua percussionist Julio Castro and the Massacre the production of El Pregonero.

Later, Nieves decided to start his solo career in 1987, apart from singing salsa in English.

He is known for his hits such as El Amor Más Bonito, Sonámbulo, and the English-language salsa hit, I Like It Like That.

In 1988 he was presented with the opportunity to record for the RMM label. His first big hit for the company was the song “Sonámbulo”, a composition by Leo Casino, which appears on his first album for RMM, entitled “The Classic” which reached a gold record.

With this album, Tito Nieves definitely imposed his interpretive style, launching himself to conquer international markets, setting the tone for other artists who later form the nucleus of what is known as “The Sound of New York”, championed by RMM.

“Yo quiero cantar”, the second album for RMM in 1989, brought a pleasant surprise. The English-language song “I’ll Always Love You”, taken in the style of salsa, became a hit on English-language radio stations.

Thanks to this and other songs, the album reached the numbers to be credited as a Gold Record. With this production Tito Nieves expanded horizons making the famous “crossover” to the Anglo-Saxon market.

His third production “Déjame vivir” in 1991 reached a platinum record, including the hits “De mí enamórate”, “Te amo”, “Déjame vivir”, “Almohada” and “How To Keep The Music Playing”. His fourth recording was released in June 1993 under the title “Rompecabeza (The Puzzle)”.

Inspired by the success of his songs in English, Tito decided to include two songs in this language “Can You Stop The Rain” and “You Bring Me Joy”.

In 1995 his fifth album, “Un tipo común”, was released, produced in Puerto Rico by Cuto Soto and had arrangements by Ramón Sánchez, Julito Alvarado, Louis García and Cuto himself. The production included the song “No me vuelvo a enamorar” by the Mexican singer-songwriter Juan Gabriel and with arrangements by Sergio George.

Another surprise on the album was Tito’s version of Selena’s classic song “No me queda más”.

Tito Nieves definitely had a strong impact on the Anglo-Saxon market with his sixth production recorded all in English “I Like It Like That”. This song took him to great stages such as the UPN TV show VIBE.

Hits from the album Fabricando Fantasías (2004) include Fabricando Fantasías and Ya No Queda Nada with La India, Nicky Jam, and K-Mil.

In 2005, he released Hoy, Mañana and Siempre which contains the hits Esa Boquita, Si No Fuera Él and Tu Belleza.

In 2007, he released Canciones Clásicas de Marco Antonio Solís, a tribute to Mexican singer-songwriter Marco Antonio Solís

Fanny Almenara better known in the salsa environment as “La Sonera del Callao”

Sonera of Callao, who maintains an impeccable musical career, loving music and recording numerous songs as a soloist and with various singers of first order of the Afro Latin Caribbean genre.

The salsa singer named Fanny Almenara, better known in the music scene as the Peruvian Sonera, was born in Callao, daughter of Don Hector Almenara and Carmen Barreto, the second of 9 siblings.

Fanny studied singing thanks to her mother, she met the best teacher, Mrs. Ana Maria Parodi and entered music at a very early age in the lyrical genre.

Juan Canevello: Percusionista, Antonio Cartagena: Cantante, Fanny Almenara: Cantante y Oscar Huaranga Bajista y Productor Musical
Juan Canevello: Percusionista, Antonio Cartagena: Cantante, Fanny Almenara: Cantante y Oscar Huaranga Bajista y Productor Musical

Her salsa collector father made her listen to the best of the best exponents such as Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, etc.
At the age of 16 she fell in love with the genre called salsa and had the honor of singing with Junior Gonzales for the first time and alternated Grandes with Peruvian Orchestras such as Peru Salsa de Beto Villena, Las Estrellas de la Máquina de Boris Gómez, HIt Parade Latino del Callao, La Nueva Generación de Franco Crovetto.
She was chosen as the best new voice of the salsa genre in the 80s.

La cantante de salsa llamada Fanny Almenara mejor conocida en el ambiente como la Sonera Peruana
La cantante de salsa llamada Fanny Almenara mejor conocida en el ambiente como la Sonera Peruana

She made recordings for different groups, and also recorded an unpublished song of her own entitled “Yo te Espero”.

Between the 70s and 80s came to Peru Las Leyendas Latinas with Ray Barreto and Adalberto Santiago, gave him the great opportunity to sing with them Quítate la Máscara.

Then with Linda Caballero (lLa India), the song Mi Primera Rumba, then with the pharaoh of salsa Oscar D’ León the song Toro Mata, also with the great Hermanos Lebrón the song sin negro no hay guaguancó.
With the owner of Soneo Carlos “El Cano” Estremera the theme Ámame en Cámara lenta, with Frankie Vázquez the theme Cuarto de Tula, with Yolanda Rivera the theme Rumba en el Patio, Vity Ruiz brother of Frankie Ruiz the theme La Cura, with Aldalberto Santiago the theme Nadie se salva de la rumba.

Primera sonera del Callao, que mantiene una carrera musical impecable
Primera sonera del Callao, que mantiene una carrera musical impecable

And so with her imposing voice Fanny captivated the attention of the greats of salsa, representing Callao and for which the people of Chalaco named her “La Sonera del Callao” (The Sonera of Callao).
For her vast artistic career she was awarded by different musical associations and by the company Pilsen Callao.
(H3) Asocosalsa Peru (Tite Curet Ceremony, Hector Lavoe Bust, Charlie Palmieri and 25th anniversary of artistic life (Okonkolo Association).
Fanny Almenara, continues her impeccable musical career, loving music and recording a song entitled Amor de Mis Amores, salsa version with the Orquesta Ng del Callao director Franco Crovetto.
Although she was in a halt due to the pandemic, she recorded a Challenger “El Virus Se Mata Con Musica” invited by a Cuban musician, which was also recorded by Cuban artists in different parts of the world.

Fanny Almenara
Fanny Almenara

After her voice reached Cuban websites such as “Benny More” “Un Millón De Adalsoneros” “Al Son Del Pinar Del Rio” she was invited to the “Son 8 de mayo” days led by the gentleman of the son Adalberto Alvarez.
Then she also recorded a song written by the King of merengue Milly Quezada “Gracias A Ti” dedicated to those who are always on the front line as doctors and nurses in the Covid 19 and the last thing she has recorded the production of the song La Sitiera Tribute to the diva of Cuba Omara Portuondo in which in that production participated Nelson Gonzales in the tres: Eddie Montalvo on congas, Nohelia Zambrano on violin and Luis Perico Ortiz on trumpet.

Website: Fanny Almenara Oficial

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.