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Salsa Escrita, the Salsa Column of Barquisimeto presents Cheo Valenzuela

Cheo Valenzuela, “El Sonero de la Dulzura”

We are pleased to have as a special guest in our salsa column, one of the vocalists possessing a unique, admirable, and respected quality of interpretation, which has stood out in our country and abroad, bringing his flavor and swing with great professionalism and hierarchy. We are talking about Cheo Valenzuela, “El Sonero de la Dulzura”, born in Cantaura, Anzoátegui state, on January 24th.

At the age of 7, he moved with his family to the city of Caracas, settling in one of the most popular parishes: La Pastora. Welcome Cheo to Salsa Escrita, “La Columna Salsera de Barquisimeto” and International Salsa Magazine, www.SalsaGoogle.com.

Thank you, friend and professor, Carlos Colmenárez, for giving me the opportunity to be present in this tribune of our Afro-Caribbean music, which serves us to make known our talents and musical projects and thus be able to interact with its assiduous readers in Venezuela and around the world.

Salsa Escrita, la Columna Salsera de Barquisimeto presenta a Cheo Valenzuela — Cheo Valenzuela, “El Sonero de la Dulzura”

Cheo, to begin with, we would like you to tell us how were your beginnings in music? Carlos, at the age of 14 I began my career as a salsa performer and with time I was called to join quite renowned orchestras.

Such as Cheo? I belonged to the Latin Dimension, then Oscar D’León called me and I was at his side with his orchestra; later I joined “Nuestra Orquesta la Salsa Mayor”; later I was called by “La Sonora Antillana”; then I joined the groups: Rumbero Menor, Venezuelan Master Orchestra, Orquesta Los Latinos, among others. Nowadays I have my own salsa orchestra “Cheo Valenzuela y su Orquesta” and also my own bolero group, called “Cheo Valenzuela y su Ensamble”.

Excellent Cheo, we really admire your work, which has been persevering and over the years, continues to rise steadily, with national and international projection. Yes, Carlos, let me tell you, apart from thank you for inviting me to your salsa column, that I launched myself into the market as a soloist some time ago and I currently have two musical productions, the first one entitled “Cheo Valenzuela and his Orchestra is you”.

Cheo Valenzuela — At the age of 7, he moved with his family to the city of Caracas.

This CD is made up of traditional salsa, romantic salsa, bolero, son, and ballads. Dear salsa lovers and consistent readers, let me tell you that Cheo, every time he gets on stage, shows off all his musical talent with total stage control, since he is a sonero, backed by multiple experiences acquired in his presentations, both in Venezuela and in the different countries he has visited.

Cheo, what can you tell us about your current musical situation? Professor Carlos, at present I am presenting for the consideration of all music lovers the new promotional theme that is part of my second musical production, which is called “Salsa Buena”, a theme of my authorship, with musical arrangements by the Venezuelan pianist, trombonist and singer Mauricio Silva, which we hope will be to the complete satisfaction of all of you. Of course, it will be a success, my friend Cheo, because your productions always carry an indisputable quality seal. By the way, what are your digital platforms and contacts? You can get me as Cheo Valenzuela in all social networks, you can also do it by email: [email protected] and Valenzuela [email protected] and for bookings by phone +58 424 1044822 and +58 416 6388420.

At the end of the interview, let me say that it was an honor to have you in Salsa Escrita “La Columna Salsera de Barquisimeto” and wishing you continue to succeed inside and outside our country so that we all enjoy Cheo Valenzuela “El Sonero de la Dulzura”.

A thousand thanks, Professor Carlos Colmenárez, for your unconditional friendship and for giving me a space in your column through International Salsa Magazine, also predicting successes in bulk and that you continue to support us in order to make our productions and presentations known, very soon in the name of God. Bendiciones Carlos and counts with the friendship of Cheo Valenzuela “Con Dulzura” and a lot of salsa…!

Remember not to leave your house…! Until next time and let’s keep on saucing!

Article of Interest: Eliel Rivero, “The Shaman of the Trombone”

DJ. Andy and his Salsa Council

I have known DJ. Andy since he was the resident DJ. at the Embassy Suites in Isla Verde (Puerto Rico) for the salsa nights that I remember attending religiously every Saturday.

However, everything changed when one Saturday night we went to the weekly event as usual. There we realized that DJ Andy was no longer there. They say that necessity is the mother of invention. It must have been out of sheer necessity that the man who would later become DJ Louie Love suddenly learned to play records on his own and without having planned it quite abruptly.

So, years later, destiny took me to the American capital because of a highlight of which there is no longer only the memory. From that highlight that I would like to forget, in Washington, DC I remember with a deep affection to have met again with the one who had already been called “the most danceable”: DJ Andy. Life and its twists and turns, we lost track of each other again until one day during one of my missions to New York I decided to go for a little dance without knowing that there I would meet again with DJ Andy. Andy was already making his way in the Big Apple, the same place where salsa was cooked more than half a century ago.

Anyway, what we came to, to share with you my impression of the third album in which DJ Andy immerses himself in a parallel way in his facet as executive producer. So, I am reviewing this catchy collection of fifteen tracks because I loved the programming and the variety of what I consider a very complete album, while achieving a first class musical performance.

Consejo Salsero (Venezuela All Stars)

Despite being performed by Venezuela All Stars, the arrangement of this salsa song is in the best New York style and very well done. The title track opens the listener’s senses in an invasive but good way; something like a sure way to arouse curiosity about the production and the tracks that follow it. Marcial Istúriz is as always a sure shot. Good voice, impeccable rhythm and one of those sonorous sounds that could make him the new owner of sonorous music. I summarize here from my corner without offending anyone, Marcial is a great sonero.

The son came to the city (Secreto a Voces)

If not the most, one of the most danceable songs of the production. Bravo!

Como se atreve (Renzo Padilla y su orquesta)

The singer’s voice is fresh and synchronized with the kind of lyrics that ask for another chance and shout sincerity. Before the second minute, the bongo takes over the transition announcing the mambo and the take-off of the “trip” injected by the pregones and the play on words in the soneos. The winds are carried by a trombone played with cleanness and precision. The end is announced with a percussive interplay between the winds and the piano, which almost takes center stage without dulling the leather beats.

Señora Rumba (Julio Cortez and his court)

The singer, once again, fits the theme like a glove, since his voice recalls the metallic melody that a bravo theme requires. The piano harmonizes perfectly with the coros and percussion. Here there is a perfect harmony between piano, conga and timbales. It seems to me that I hear a xylophone flirting with the conga, without detracting from the piano.

Mary Juana (Carlos Guzmán y su orquesta)

The introduction of the song reminds me of the arrangements of the glory days of Orquesta La Solución, but with a bongó playing in the arrangement. The trombones announce themselves early on and ask the bongo for permission to join them around the first minute. The piano harmonizes and gives way to the brass without conflicting with the musical change that around the third minute adopts a style of those with which Wayne Gorbea established his sound. Masterful the way in which the arrangement moves through varied styles without running over the flow of the music.

Salsa pa’ ti (Grupo Tahona)

This is a very heavy song, one of those that starts with the chorus without shyness. The boldness of the arrangement threatens to go straight to the mambo in a very elegant way. A gentle piano solo crosses over from a minute and a half in. The piano solo gives way to a melodic trumpet solo that doesn’t allow screaming. The conga takes the lead from just before the third minute, making sure that the brass does its thing, in anticipation of the return of a piano that dictates the chords of the distant line. All in all, this is a very tasty track.

Quiéreme (Gumby Navedo and his orchestra)

The interpretation sounds great and the singer’s voice is one of those indisputable and unforgettable ones. The lyrics are worthy of the interplay between the saxophones and the rest of the wind instruments. At three and a half minutes the pregón changes with a lot of class and distinction before handing over to the saxophones at the end to give way to the closing, which the cueros make precise.

I come from New York (Son del monte)

The flute enters quite early and quite forcefully. The violins match the flutes and the typical charanga bell ringing. I imagine that Andy wanted to include a variety of rhythms within the range of Afro-Caribbean rhythms and manages in the process to give us a complete collection. Even dancing pachanga doesn’t let us forget. Thank you!

Vengo del Congo (Julio Estrada y su orquesta)

The arrangement of the song is one of those classics that could be used as an example to demonstrate the salsa sound without pretension or fuss to anyone who has never heard salsa before. At two and a half minutes, Julio Estrada plays a heavy piano solo before the mambo enters in all its splendor. Winds, timbales, conga and piano come together to take us on a journey into a synchronized, non-competitive melody.

Pa’l bailador (La Negramenta)

The introduction of this unquestionably salsa song gives prominence to the baritone saxophone in a flirtation that walks between salsa and boogaloo. However, the boogaloo sound is short-lived, giving way to a well-defined, traditional salsa. At the third minute, the trumpets enter in correspondence with the percussion. At minute 3:45, the conga takes over the distant line, giving way to the trumpets and timbales, announcing that the song is elegantly descending in intensity.

El rumbero (Leo Pacheco Jr. y su orquesta)

This song wants to highlight the essence of African music within the salsa music made in Venezuela. This arrangement seems to be inspired by the evolutionary inventions that today are a winning formula. I am referring to the adjustments that Bobby Valentín made, at the request of maestro Willie Rosario. The big difference is that this arrangement is somewhat louder than the ones that started this formula several decades ago. The trombone and conga take over, anticipating “salsa, guaracha y bembé” as the song says.

Nací pa’ cantar (Wiwi Buznego y su orquesta)

The song is pure salsa, conga, pregones and lots of rhythm for the dancer who responds to a fluid arrangement without much distraction. The first significant percussive cut that captures the dancer’s attention hits the senses at minute fifteen (1:15). From then on, the performer plays between conga beats, trumpet blasts, pregones and soneos. The mambo is unforgiving and if the dancer lets himself be carried away by the music, he can feel it to the last drop of blood running through his veins.

Camina y ven (Charanga Masters)

A Cuban song from the heart made in the best charanga format, taking into account that technology allows to improve the sound of the past. The flute and violins play with the percussion in a daring way, modernizing what was the charanga in its original form.

Mi propuesta (Robert Burgos and Descarga Zason)

The closing track travels to Cuba in pure timba sound. The singer harmonizes perfectly with the arrangement and the execution of the orchestra, his voice being the typical Cuban voice that stands out in timba format. Very successful to close the trip of the compact disc with timba. Very well achieved farewell.

Although the release of this CD was in 2019, for me it is new. So I take the trouble to assure you that if you listen to it you will love it. If you dance, you’ll wear out your sole. And if you don’t, you’ll be encouraged to learn to move your skeleton to the rhythm of this tasty treat.

Thanks, Andy, congratulations!

Facebook: Andy Rodríguez

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

WebSite: Bella Martinez

Article of Interest: From Italy Albert Giorgio Giovanni DJ. Lindo Salsa and Bachata

Heyzer Cabrera, brilliant and virtuoso Venezuelan percussionist

International Salsa Magazine / www.SalsaGoogle.com and its correspondent, Professor Carlos Colmenarez from Barquisimeto, Venezuela have the privilege to present one of the most important bastions of our Latin music in the Caribbean.

In this opportunity we honor in our salsa column, the Venezuelan percussionist Heyzer Cabrera, born in the city of Caracas, on May 3, who already has more than 30 years of musical career, because at the age of 7 years old he was part of the Venezuelan Children’s Choir, directed by Professor Raul Cabrera, his uncle.

At the age of 15 he began his interest in percussion, with the help of his great friend and also percussionist Juan Pablo Barrios and at 17 he began his career as a professional musician with the “Orquesta Canela” in 1994 and since then he has been part of many groups of the salsa genre, such as: “El Combo de Venezuela”, “La Negramenta” and accompanying international artists such as Andy Montañez, Van Lester and Pedro Arroyo.

At the age of 15 he began his interest in percussion, hand in hand with his great friend and percussionist Juan Pablo Barrios and at 17 he began his career as a professional musician with the "Orquesta Canela" in 1994 and since then he has been part of many groups of the salsa genre, such as: "El Combo de Venezuela", "La Negramenta" and accompanying international artists such as Andy Montañez, Van Lester and Pedro Arroyo. — Heyzer Cabrera, brilliant and virtuoso Venezuelan percussionist

In 2013, he began his project to make a recording studio, which is called “A Tempo Récords” and in parallel he studied sound engineering at the academy (Audio Place), under the guidance of Jesus Sanchez and Jean Sanchez. In his career as a sound technician he has participated as a producer of several orchestras and in 2019, he gets his first recognition by being nominated in the production “Con Todo” by Coco y su “Sabor Matancero”, for Record of the Year, Salsa Genre, at the Pepsi Music Awards in Caracas.

Heyzer, at the international level you have had presentations? Indeed Professor Carlos, in 2018 I had the pleasure of being in Cali, Colombia, with the orchestra “La Negramenta”, in La Topa Tolondra and the reaction of the public was of great emotion, chanting all the songs of the orchestra; later in 2019, I returned to Cali, but with the orchestra “Noche Caliente” and soon we will return to the neogranadino country.

And with Juan Pablo Barrios, you were part of his wonderful jazz-salsa band? Hey, yes, I was part of that wonderful orchestra for 8 years.

Heyzer, with which of the percussion instruments do you feel better for its execution? My friend Carlos, with all the irons equally, that is: timbales, congas and bongos.

Also, Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”, the group formed by the musicians: Cheo Navarro, Alfredo Naranjo, Jhoán Muñoz, José Soto, Miguel Urbina, Rodrigo Mendoza on vocals and of course, Heyzer on percussion and also the first personal single entitled “Mi social”, was recorded in Cabrera’s studios.

For those who wish to contact and hire the excellent percussionist Heyzer Cabrera, you can do so at 0412-9782696, through Instagram: heyzer_drums, atemporecords. Facebook: Heyzer Cabrera and A Tempo Récords.

with all irons equally, i.e.: timbales, congas and bongos. — Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”.

From Salsa Escrita, International Salsa Magazine / www.SalsaGoogle.com and all its staff, we wish the greatest success to this bastion of Venezuelan percussion.

Facebook: Heyzer Cabrera, brilliant and virtuoso Venezuelan percussionist

Everything prior to the 20th century is in the History of Salsa, since what happened in the Caribbean is common to mankind.

As in the rest of the world, salsa in Venezuela entered in the 60s from the new sounds created in New York, and driven by musicians like Federico Betancourt (Federico y su combo latino), or radio programs like La hora de la salsa, although rumba and Cuban son were already rooted since the 40s and 50s.

Article of Interest: Johnny “Dandy” Rodríguez Jr.

See you next time and let’s keep on salsaing!

By: Professor Carlos Colmenarez from Barquisimeto, Venezuela

ISM: Carine and Rafael, 8th World Salsa Champions

Meet the dance representatives of Brazil:

Carine and Rafael, 8th World Salsa Champions

Brazil, the country known for its tropics and its excellence in dancing Samba worldwide, especially dancing in popular festivals and its carnival every year, but that’s not all, at the level of salsa rhythm we have 2 important representatives that we were able to interview in This month, which are: Carine Morais and Rafael Barros, are great salsa dancers who represented their country in a great variety of dance competitions, where they became the Salsa champions 8 times in a row, these competitions are the that they conquered:

World Salsa Open Brasil (2009/2010)
Rey Castro Salsa Competition (2010/2011)
World Salsa Open / Puerto Rico (2010, 2012, 2013)
Six Degrees / Toronto (2012)
World Latin Dance Cup / USA (2013, 2014, 2016)
World Salsa Championship / USA (2016)

Each of them has its story, where we will start with:

Rafael Barros:

Who was born in Fortaleza, Ceará, Fortaleza, Brazil; He tells us that he liked dancing from a very young age and practiced thanks to family festivals and from the age of 14 he decided to enter a dance school to improve himself and have more contact with this art, resulting in Forró already teaching at 18 , Samba, Bolero and other rhythms. His first contact with salsa took place in 2004 through a study group: the Salseira Rebellion.

Starting in 2005, she made her first trip to the São Paulo capital with the group she was part of to study and perform in one of the most important dance congresses in the country at that time: the Latin Culture Week. Two years later, he moved to São Paulo to join Cia. Phoenix and, at age 21, was third at the Salsa Open Brasil.

Carine Morais:

She was also born in Fortaleza, Ceará, Brazil, dance was part of her life since she was a child since she enjoyed it as if it were a game, at the age of 13 she began her ballroom dance studies and a year later already She was teaching as a teacher, and in 2003 she traveled with a dance group to Spain where she participated in two seasons of a Brazilian music show.However, her first direct contact with Salsa took place in a study group in Ceará and had a Paulo Burracha as his first partner; As time passed, he acquired quality, ingenuity and dedication which began to attract attention and from 2006 Carine traveled to Rio de Janeiro by invitation to improve her samba de gafieira and funkeado, but she always continued studying and training in salsa and in 2007 she won with his partner Paulo Burracha the Brazilian stage of the Salsa Open.

In September 2008, she began her victorious partnership with Rafael Barros and together they won 8 world titles, in addition to becoming one of the greatest references in world dance, Carine Morais, along with her new partner Rafael Barros, who have already traveled to more than 35 countries with the aim of teaching and acting. Not to mention the various invitations to be a judge at the main world dance championships and the various participations in television programs.

Carine Morais hanging out with Rafael Barros — On stage Carine Morais going around with Rafael Barros

For almost 12 years of collaboration between Rafael and Carine, they emphasize that it is not only about perfecting the technique and musicality in dance but also its harmony. And they did not remain in being professional dancers, but they are also professors and choreographers in demand in various congresses nationally and internationally, reaching more than 300 participations in congresses distributed in more than 35 countries, among them are: Argentina, Italy, Guatemala, Uruguay , Chile, Australia, Portugal, Venezuela, Colombia, Mexico, Peru, Suriname, Puerto Rico, Canada, Turkey, India, Panama, Bolivia, Costa Rica, China, Canary Islands, Thailand, Spain, Lebanon, Ecuador, Bulgaria, Austria, Singapore, the United States, Germany, France, Greece and Switzerland; And these not only stay there, it is worth mentioning that they have had numerous participations in television programs, both entertainment and journalistic, in Brazilian and international stations, among them: TV Globo Fantástico, Encontro com Fátima Bernardes, Globo Esporte, Programa do Jô , Rede Record, among other outstanding appearances.

Flyer of Carine and Rafael 8th championships

For almost five years they maintained the Carine & Rafael Dance School unit in São Paulo, Brazil, which ended its activities in 2020 due to the Covid 19 pandemic, but since April 2021 they began to give online and face-to-face classes in compliance with the measures of security. They comment that for seven years they have been organizers of the largest Brazilian championship and ballroom dance project: the Brasil Latin Open, which you can have more information through on their Facebook and Instagram page through @brasillatinopen.

Thanks to this great feat that this dance couple did, they have placed Brazil at the center of the World Salsa, making Brazil a very important country regarding ballroom dancing.

If you want to contact these great artists, you can do so through:

WebSite: https://www.carineyrafael.com
Facebook e Instagram: @carineyrafael
Twitter: @Carineerafael
YouTube: https://www.youtube.com/channel/UCDUg6yjWAfxzar7v5zWnlcA?view_as=subscriber

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4 Salsa Books You Can Read In One Week

Spanish Author Saúl Delhom Immerses Us Into The World Of Salsa In Four Simple Illustrated Texts

Ficcionario Salsero and El Antimanual de la Salsa by Saúl Delhom — El Antimanual Para Bailar Salsa. Episodio I: El Social was published in November 2019 and contains 73 pages

The computer engineer, illustrator and dancer, Saúl Delhom, recreates the culture of Salsa in an exclusive selection of four short books that are easy to understand, a substantial exploration of the representatives of the genre, and an enjoyable reading that you can finish in a week.

The author of these different texts tells us quickly and with the characteristic Spanish humor about the skills, efforts, adaptability, and approach of Afro-Caribbean music.

With these books aimed at Salsa fans, you will get motivation, reflection, knowledge of history, tips, and advice on social dance based on real stories that will not allow you to get left behind in this competitive and fascinating world of Latin dance.

The four books on Salsa by Valencia-born Saúl Delhom will make you learn the most relevant data of the Salsa industry in a fast and exceptional way.

En Clave

En clave is one of the books by the Valencia dancer with which he makes a chronological journey of Salsa through the lives of 77 women artists around the world. For this reason, you will find singers, instrumentalists, composers, and directors of the genre from Croatia, Denmark, Spain, France, the United Kingdom, Japan, Puerto Rico, the United States, Cuba, and Venezuela, just to mention a few countries.

En Clave is structured by a timeline dating from 1877 to 1995, separated by decades. So in the first instance, you will read the biography of an artist who is probably the source of inspiration for another. Then, you will come across a connection diagram as visual support and contribution of extra information that will provide you with emotional ties, teachers, professionals, and collaborations between members of the industry.

Likewise, you will find at the end of each biography the title of a song along with a printed code that you can scan through your smartphone that will link you directly to the Spotify digital platform to listen to it.

And finally, you will observe a second timeline with the exhibition as a frame of reference for contemporary male singers and groups and the exact date of the incursion and musical performance of the artist reviewed for that moment.

“In short, for this book, I have opted for that general vision of the term Salsa… This has also allowed me to include interpreters of traditional Cuban music, to travel back in time making prominent women visible, and to the future including generations of artists who merge, and they reinterpret. For that reason, you will find exponents of the Trova, Danzón, Danzonete, the Cuban point, Guajira, or Latin Jazz. ” Excerpt from the En Clave book.

Remember that you need to read this book because…

“More Salsas are known with female names than female names in the Salsa”. Saúl Delhom

El Antimanual Para Bailar Salsa: Episode I. The social

El antimanual para bailar Salsa is an ironic and humorous illustrated guide on how to successfully overcome a social dance of this Latin rhyme on a dance floor.

In this first book by Saúl, you will find answers to common questions of beginning dancers, such as: Should the girl be dragged to the floor? Is it better to dance only with your partner? Is doing many figures the best to stand out? Do I have to know all the songs of memory to be a real Salsero? Is criticizing other couples a national sport? Who moves my drink from here?

Delhom tells us that his intention in creating this project was initially purely personal and without any commercial intention, but due to its success and the liking of the experience acquired, he decided to write an extension of this book with a few extra chapters and face a second different book.

Ficcionario Salsero. 50 New Words Explained For Normal People

The Ficcionario Salsero is a dictionary of 50 words invented by the author.

These simple words with minimal modifications in the union of two of them or the exchange of one or two letters make the meaning vary entirely, creating a new terminology in salsa slang.

To do this, Saúl Delhom developed an advanced algorithm that allowed him to generate each new term, which in the writer’s words, that should already exist today.

In addition, in the last pages of the Ficcionario, you will find a story about the events that take place in a Salsa Congress and in which these new words are used as an example and that make you actively get involved in this fascinating world.

It should be noted that the style and method applied to the illustrations here are different from those applied previously.

Trivial Salsero

Finally, there is the Trivial Salsero, a Salsa cultural enrichment book. Its base consists of 360 questions that join a playlist of 160 songs.

In the questions related to a hit, for example: According to a song from El Gran Combo de Puerto Rico, what city do you recommend living in summer to have fun with charm and beauty? You will have the information about the correct answer and bring you the exact time within the song through a mark on the digital link to listen to it on Spotify.

Trivial Salsero also includes a system to choose pages randomly without the need for dice or cards.

And is that if you consider yourself a real Salsero you should already know the answers to any of these questions that appear in this book and that I leave you here below as a preamble to what you will find in its internal pages:

With what instrument is the artist Noro Morales associated?
What discipline did Celia Cruz leave to dedicate herself to music?
What nickname has the artist Charlie Palmieri received?
What is the meaning of the word Segundo of the artist Compay Segundo?

“I’ll tell you a little personal anecdote… The first time I tried a Salsa class was in a pub called Cachao. At that time, I had no idea who was the legendary double bass player Israel López “Cachao”. I believed that it was an invented word or the name of some island. Years later, I not only know his story thanks to dancing and the controversial term Salsa, but I have ended up writing a book in which appears his sister Coralia López, much less known”. Saúl Delhom

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