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Guspira Records Presents The Karamba release their first album “Camino Así”
The Karamba is a musical group formed by six women from Venezuela, Cuba, Catalonia, Panama, and Argentina. It is a multicultural mix that creates a new, special and powerful musical color.
Between the chaos, traffic, the city, and stress, they joined in 2018 with the name of the Karamba on the streets of Barcelona. Of the need to acquire strength, get rid of fears, and spread joy, members share their way of understanding music to claim the strength of women.
Together they have been strengthened, combining rhythms and tunes in order to compose a single melody that fuses son, chachachá, salsa, timba, and rap rhythms. Enthusiastic melodies that explode with effusion and a powerful message of protest and feminine sovereignty that transmits the full force of past generations who championed the feminist fight and change.
Since their union, and in just two years, the Karamba has become one of the most internationally recognized bands at large festivals in Europe. They were especially noted for their performance at the Eurosonic Noorderslag (ESNS) 2020, which is the most important professional music festival in Europe that takes place in Holland, and also at the Flawa Festival in London. They have also got Catalan audiences to fall in love with their presence at renowned festivals such as the Black Music Festival, Bioritme, Clownia, and the Esperanzah Festival, among many others.
The lyrics of their songs talk about the stories of all those women who kept silent, were under the shadow, fought alone during the course of history, and who could not explain. Now the Karamba endorse these stories in their new album “Camino Así” (Guspira Records, 2021).
The record starts off with “Presentes”, which is a clear declaration of intent. Through the music for the eponymous poem by Guisela López, they remark their values, objectives, and principles to the rhythm of a rumba tonada in collaboration with Erik Castillo, director of the group Compota de Manana.
One of the values that take on special importance is gender equality. The Karamba leads us with a cha cha to the life of “Margarita”, a grandmother addicted to freedom. In the song “No Sabe Nah” they take a more vindicatory position, and together with singer Paula Grande, they call for the power of women. With a Trap base, they surprise us with a change in the register as they opt for electronic sounds that make a substantive difference from the rest of the songs.
The band is characterized by its constancy reflected in “Voy Subiendo” with the collaboration of trumpeter Yuri Hernández and trombonist Albert Costa. Slowly but steadily, the Karamba work to draw their path cut out for them. A path where they leave behind everything that weighs on them and does not work. In “Pasa la página” they look up to a relationship that is destined to fail.
With a salsa song that warms up in each beat, they encourage to look to the future with optimism and to overcome everything that has thrown them. Finally, in “Basta Ya“, the Karamba remove all social pressure and the alleged dogmas stipulated to be successful in life.
In “El Beso“, the first song they composed as a band, they remind us to love each other with intensity and continue the journey to the “Sabana”, a reflection on the frenzied pace of life that we talk. On a busy day-to-day basis, the Karamba invite you with their album “Camino Así” to relax, forget all the troubles and see the world in their own way following their tempo.
“Camino Así”, their first album, will be available on March 4th in physical and digital formats.
https://guspira.net/ca/las-karamba
FormaGran Via de Les Corts Catalanes 1176 Bis 3º 5º (08020) Barcelona
Edwin “El Calvito” Reyes “A True Re-invention for Everyone”.
International Salsa Magazine presents Edwin “El Calvito” Reyes “Metido En Su Garaje”.
The Pandemic (Covid-19), without a doubt, was devastating for a large number of people. For others, it was literally taken as a time of reflection, a time to reinvent oneself, a time to start a new era.
That is the case of our friend, and one of the fastest-growing salsa artists in the world, Edwin “El Calvito” Reyes. Aside from continuing to delight us with every song he releases, today, he has one of the most educational salsa programs on the networks and on Digital TV. It is called METIDO EN MI GARAGE and originates from the State of Florida, USA.
#MetidoEnMiGaraje
“A True Re-invention and For All”.
As a result of the pandemic, “El Calvito” turned his garage into a mini-TV studio, with the goal of helping his colleagues in the media, regardless of the background or trajectory of the guests. Also, radio broadcasters, world-class dancers, DJs, event organizers, and even music management experts are part of the weekly treat that our friend “El Calvito” brings us in his often program. It is virtual, and you can easily watch it from your home. Lots of salsa, and in an educational way.
However, this fruit of re-invention has surprised Edwin “El Calvito” Reyes, because his program, not only transmits in networks, but also in 3 Digital TV channels. Collectively, several thousands of people are integrated every week, thanks to the collaboration of these networks, such as TROPICAL MOON TV (Panama, Peru, Dominican Republic), DreamForceBTL TV (Colombia), and LA PODEROSA 360 TV (Puerto Rico).
Due to the great reception in Puerto Rico through LA PODEROSA 360 TV, the International Network UNIVISION and its TELEISLA Channel in Puerto Rico (National TV), gave our friend the opportunity to be a fundamental part of the Saturday program, called “Cuchito’s 360 Late Night Show”, bringing the current videos of salsa worldwide, to the national screen of Puerto Rico. His section is called “Esto Es Salsa Nueva” (This is New Salsa), as one of the songs of “El Calvito” Reyes is called.
Just over 150 people within the 55 episodes of the program have been part of it. Each one with a different and motivating story. There is no room for “bickering”, because it is very familiar, and the goal is always to bring a positive, constructive message. “We go with no time limit, and always full of pure positive energy,” says “El Calvito”.
Still, in the midst of his successful push with the track ESTO ES SALSA NUEVA which has surpassed 100,000 plays on Spotify, and with his new LIVE Production, titled,
“Here we have a Salsero de Hoy, dedicated with his heart, for the good of the salsa genre, in the whole world.
The musical world has a great all in Edwin “El Calvito” Reyes.
#MetidoEnMiGaraje
Que Siga la Fiesta with Carlitos Lopez “El Gordito Favorito”
Born in the city of Carolina, Puerto Rico in 1969 with music in his veins.
Carlos Enrique Lopez (Carlitos Lopez el gordito favorito), he begins to show interest in music in general, boleros and trios
The bomba, plena, jibara music which he listened to in the countryside when his uncles and aunts visited his family, they liked to play stringed instruments and harmony either the tres or the Puerto Rican cuatro and the symphony.
At the age of 7 he moved to his grandparents’ house to begin studying in elementary school in his native Puerto Rico, while studying in the afternoons he spent his time listening to Fania and its stars. Singers like Hector Lavoe, Cheo Feliciano, Ruben Blades, Ismael Rivera among others.
Courtesy of his cousin who was a loyal fan and collector of Willie Colon’s salsa etcetera, little by little he was learning to vocalize demonstrating the ability to learn to do vocals for the choir at that time he met a young Anthony Cruz for the first time and was impressed with his melodious voice, although they never shared in those days.
Carlos debuted at the age of 14 with an orchestra created by his cousin and some students of the vocational music school where he had the opportunity to accompany Santos Colon former singer Tito Puente, he decided to move back home to his parents where he met Anthony Cruz who lived on the same street where his parents lived, and who already belonged to the orchestra of Mario Ortiz and began to attend rehearsals, recordings and dances.
There he met a young Tony Vega, Gilberto Santa Rosa, Elias Lopez, Lalo Rodriguez, Dario Morales who encouraged him to take vocal lessons, but he never did for lack of time.
but he never made it due to lack of support from his parents because there were other hopes and expectations.
The teacher Mario Ortiz noticed his uneasiness and spoke casually with his parents, but the decision had already been made by his parents.
but the decision was already made by them leaving Carlos disenchanted with music and taking the decision to emigrate to the United States where he dedicated himself to the culinary arts for the rest of his life until 2004 when he met again with Anthony Cruz who already had a successful career as a soloist and was touring they spoke for a moment and that was enough to return to her first love, music.
Anthony Cruz introduces him to several of the musicians who accompanied him in that activity and the rest is history. He joins the orchestra as a chorus singer and debuts as a composer where he writes 4 songs for the production of a CD of the orchestra entitled Going solo under the musical direction of Harry Rios.
They gain the popularity and admiration of the salsa people playing in different parts of Central Florida, festivals, clubs, and discotheques.
Born in the city of Carolina, Puerto Rico.
They return and record a single Going Back to Old School on which Carlos dedicates a song to Israel Lopez Cachao titled 80 Year’s of Cachao with arrangement and direction by Luis Jungo Ortiz which had tremendous acceptance from the dancing public and the radio listeners, from there Carlos decides to retire from music again to continue his career in the culinary arts.
Until he receives a call from an old friend asking him to help him with the choirs because he was going to accompany different artists.
Carlos began to accompany different singers with that orchestra called La Predilecta as a chorus singer among which there were names of the height of Anthony Cruz, Lalo Rodriguez, Cano Estremera, Manolo Lezcano, Chamaco Rivera, Frankie Figueroa, Ommy Cardona, Paquito Acosta, Paquito Guzman, Hector Tricoche, Papo Cocote and many more.
Carlos has written several songs including a collaboration between Anthony Cruz and Danny Sanchez titled No Vale la pena Enamorarse with arrangement by Luis Jungo Ortiz.
In addition to a song titled Today again under the tutelage of Harry Rios sung by Danny Sanchez currently Carlos Enrique Lopez known as Carlitos (the favorite fatty) made his debut as a solo singer.
And is promoting the theme of his authorship entitled Me Enamore under the direction, arrangement and production of the master Luis Jungo Ortiz which has enjoyed a good reception on digital platforms, social networks and independent radio stations on the internet.
As Radio Brisa Tropical con the master Taíno Roldán, Radio Calidad de vida del Dr Ted, Top 98 radio with Richie Sanchez and also.
Que Siga la Fiesta
Carlos has just recorded a song of his authorship entitled Que Siga la Fiesta in collaboration with 2 talented gentlemen from Orlando Central Florida and Miami are Edwin el Calvito Reyes and Luis Jibarito de Jesus under the direction and arrangement of Mike Rivera The Professor in the studio 305 Imma Studio owned by music engineer Immanuel Ramirez which came out on April 20, 2021.
Facebook: Carlos Enrique López
It is indisputable that the most popular orchestra in Puerto Rico and South America during the 1970s was Roberto Roena’s Apollo Sound.
On July 20, 1969 the orchestra “El Apollo Sound” of the great Puerto Rican musician Roberto Roena was born. Together with trumpeter Elías Lopés he founded “El Apollo Sound”.
This name comes from the first rehearsal of his group, which coincided with the day of the launching of the Apollo rocket to the moon.
Roberto Roena recorded 10 albums in nine years for the Sello Internacional, part of the Fania label, and although he was not a great student of music, he was able to surround himself with very good musicians and use his talent to form his own group, which is now in its fiftieth year.
It is indisputable that the most popular orchestra in Puerto Rico and South America during the 70s was Roberto Roena’s Apollo Sound.
“Lucky 7” was his seventh release in front of Apollo with the Fania International label, after his discreet debut as leader with Los Megatones and after a fruitful career as bongocero of Rafael Cortijo’s Combo and Rafael Ithier’s El Gran Combo.
With “Lucky 7” Roena consolidated his popularity on a continental level thanks to the arrangement of an innovative song that challenged the schemes of the overwhelming salsa sound institutionalized in New York during the decade: “Mi desengaño”, by Julio Merced and Pucho Soufront.
In 1976 the Apollo and its new singer Papo Sánchez, pride of Hatillo, climbed the charts with a nostalgic lyric inspired by unrequited love. In his arrangement, trombonist Merced himself incorporated the cadence of the samba, linked through its bars with a son covered with the nuances of bossa nova, jazz and bomba.
The hit “Mi desengaño” invited many to reinvent their sound and reformulate their proposals in salsa, with more elaborate arrangements and harmonic sophistication, such as those made in New York by Marty Sheller for Willie Colón.
In addition to the brilliant debut of Papo Sánchez, the excellence of “Lucky 7” rested on the arrangements and orchestrations of such great musicians as trumpeters Luis ‘Perico’ Ortiz and Elías Lopéz, pianists Papo Lucca and Jorgito Millet and the King of the Bass, Bobby Valentín.
The sequence begins with the guaguancó “Que me castigue Dios”, performed by Sammy ‘El Rolo’ González, Apollo’s star singer until “La 8va. Maravilla”, their next album. In “Que me castigue Dios” we hear at the end the then incipient Rubén Blades with the declamation of some verses that today would deserve the repudiation of feminist organizations, but that in 1976, were applauded by the prevailing macho sociology in the industry:
May my mouth dry up/If I ever kiss you again/And if I ever look at you again/May my eyesight blur/I’m tired of your bad breath/I never reproached you/Your feet smell too/And I know that not even the worms/With you they wouldn’t get their hands on that day you die/You a cow and I a horse with class/I wish a truck would run over your head/Pa’ que salga la sucieza con que tú a mi me me trataste.
“Lucky 7” was also an LP that satisfied the expectations of the dancer. Although many may have crossed themselves dancing to the samba of “Mi desengaño” and the fusion of “Que me castigue Dios”, the merengue “La mala maña”, arranged by Conjunto Quisqueya pianist Chokie Acosta, the pachanga with cumbia “Estás equivocada”, the composition “A bailar mi bomba” by Arsenio Rodríguez and the guaguancós “Me le fugué a la candela”, “La hija de la vecina” and “Fea” pleased the couples who in those days overflowed halls such as Rancho Luna, El Moroco and El Carretero.
There is no doubt that the best oiled edition of the orchestral collective Apollo Sound was precisely the one that intervened in “Lucky 7“, led then by flutist Miguel Rodriguez, trumpeter Mario Cora, timbalero Cuqui Santos, conguero Papo Clemente and trombonist Julio Merced, who later defected with singer Papo Sanchez to found the band Salsa Fever. Three decades after its release it is an irrefutable affirmation.
