Search Results for: salsa in venezuela
“Promesa de Reyes” from the pen of Yova Rodríguez “The Jibarito of Mayagüez in New York”
International Salsa Magazine, through salsagoogle.com, has the privilege and immense honor of presenting the most recent musical work titled “Promesa de Reyes” from the pen of the Puerto Rican singer-songwriter Yova Rodríguez “El Jibarito de Mayagüez.”
The most recent track, titled “Promesa de Reyes,” is something I’ve wanted to do for a long time. I have to tell you that producing a Christmas production is a bit difficult because the season is so short, and it’s hard to develop the theme as it should be. But I was determined to do it because it’s a gift or tribute to the memory of my mother, Doña Delia Ruiz.
The inspiration for “Promesa de Reyes,” in reality, when you listen to the song, what you’ll realize is that it’s a narration. That is, in this track, I’m going to describe, from when I was a child, how I used to watch my mom carry out the process of her “Promesa de Reyes,” from the time they sent someone to cut the palm leaves to make the altar, until that altar with the Three Wise Men was completed, and the next day, well, we knew we had the party.
I’ve been incredibly lucky because the track was arranged by Leo Morales, originally from Colombia. It turns out that Leo is influenced—he learned to play the trombone and became a musician because of Willy Colón’s Asalto Navideño records. So, he told me that since then, he started studying the authentic, folk music of Puerto Rico to find out where Willy got those kinds of ideas. This is a very special track because we managed to include Puerto Rican danza (dance), Puerto Rican bomba (drumming and dance), and salsa.
It’s a track that gathers a lot of little things, and obviously, we added the music of the Puerto Rican countryside (música del campo). It starts with different rhythm changes, and you’ll hear one part that has Puerto Rican danza, another that has Puerto Rican bomba, and another that has salsa.
I sing and I wrote the song. On piano is Vicente Báez, the current pianist for Sonora Ponceña. On bass is Puri Matos, a master based in New York. He was recommended by Anthony Carrillo and has been doing all my projects with me for two years. Anthony Carrillo did all the percussion. On trumpet is Agustín Someillan from the Cuban National Sextet. The chorus singers are Nino Segerra, Danny Dávila, and Caneca Rosa. Manny Trinidad, recommended by Nino Segarra, played the Puerto Rican cuatro.
The recording studio was Nino Segarra’s. This is about the fourth or fifth track we’ve done there in his studio with Nino.
Nino, besides being a singer, is a professional teacher. He’s an expert who knows how to guide you, how to explain things the way they should be; he doesn’t pressure you; he lets you develop. In other words, I feel extremely comfortable working with Nino; the experience of working with Nino is very satisfying.
People tell me, “Yova, you’re crazy. You get on a plane just to go record a voice track,” and I tell them yes, for two reasons:
First, because I feel secure. And second, because I know I won’t fail with Nino, so the sacrifice is worth it. Recording with Nino was thanks to Herman Olivera, my compadre, who told me, “Look, Yova, I’ve been recording with Nino for two years, and I’m not recording with anyone else.” And look, I got on the plane, I did it, and now I have five productions with Nino Segarra.
Yova, the time in the studio to make the track is very important. Talk a little about that.
Look, Augusto, remember that depends on the type of musician you have there, right? There are musicians who are sight-readers of the first caliber.
These musicians tell you, “Send me the charts two days before,” they skim them. When they get to the studio, they’re done with their part in half an hour, 20 minutes, 15. But there are others who you have to take at a slower pace. For example, in Anthony’s case, Anthony told me, “Send me the demo, and I’ll listen to it.”
But Carrillo is from another planet. I send him his demo; he listens for two days beforehand. And he tells me, “Let’s go to the studio.”
And Anthony recorded flawlessly. Anthony didn’t take three hours to do four instruments; he did it in about two hours, and everything was excellent.
The track’s release? The video will be released on Friday, October 31st. The track will also be launched on radio stations that same Friday, confirmed in Venezuela, Colombia, Peru, Florida, and Puerto Rico.
Yova, you brought in a Venezuelan graphic designer for this, your most recent track. How was it working with that graphic designer? The good thing about Victoria is that she listens, right? Sometimes you work with not only the graphic designer—it often happens even with the arrangers; I compare them. They do something, and you tell them, “No, wait, wait, that’s not what I want, this is.” “Oh, but no, I think that’s what should be.”
Victoria listens to you and works with what you ask for. The experience with her was excellent, and I hope it continues to happen many more times.
“Promesa de Reyes”
Piano: Vicente Báez
Bass: Puri Matos
Puerto Rican cuatro: Manny Trinidad
Conga: Anthony Carrillo
Bongó: Anthony Carrillo
Snare Drum (Redoble): Anthony Carrillo
Puerto Rican güiro: Anthony Carrilllo
Cuban güiro: Edwin Caneca Rosas
Trumpets: Agustín Someillan
Chorus: Nino Segarra, Edwin Caneca Rosas, Danny Dávila
Singer: Yova Rodríguez
Studios: Sonority in New Jersey (Recording of all Percussion). Engineers: Nino Segarra
Mix: Héctor Mora, HM
Producción Medellín Colombia
Arrangement: Leo Morales
Video Production: Jhonatan Chávez
Composition: Yova Rodríguez.
Graphic Designer: Victoria Rivas Rojas.
Also Read: Yova Rodríguez. The jibarito of Mayagüez
Latin America / November 2025
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Kadenza Dance School
Latin America / Argentina/ Buenos Aires
Kadenza Dance School is a dance academy located in Buenos Aires, Argentina. They don’t just teach people the steps of a musical rhythm; they demonstrate through their teaching that dancing nourishes the spirit of those who practice it. Not only that, but dance also allows for a connection with emotions, giving students more freedom for their spirit or soul.
KADENZA is a school geared toward students of all ages and with different goals, whether they wish to pursue a professional path or use dance as a form of recreation or therapy. All their students and teachers benefit from a comfortable reception area, spacious studios equipped with mirrors, barres, wooden floors, high-quality sound systems, and Wi-Fi throughout the studio. In short, it’s an ideal place to learn with passion, as the atmosphere is full of joy, respect, and good vibes, where one can enjoy what they love to do most… which is dancing.
They also state that they are seriously committed to the quality of instruction, where qualified professors and instructors give their best in every class. This ensures their students incorporate the essentials of each technique and develop the maximum potential of their learning in the rhythms chosen by the student.
The Directors: Yamila Larraura and Juan Pablo Villar
The School’s Directors are Yamila Larraura and Juan Pablo Villar, who mention that, “Anyone can open an Academy, but few are the ones that make a difference.”
If we want to know more about the history of these two directors, we can start with Yamila Larraura, who was born in Argentina. Since she was a child, she began listening to Afro-Latin music thanks to her father, “Jorge Washington Larraura,” who was of Uruguayan origin. When she was 14, she went on vacation to Villa Gesell with her parents and a friend of theirs. It was on this trip that her interest in Salsa was awakened, as she went to a place near the beach that played Salsa music and offered classes in the afternoon with all the people from the beach.
One of the songs heard back then was “El Muerto se fue de Rumba” by the group “Las Sabrosas Zarigüellas,” which was very catchy for everyone who heard it. After her vacation, she decided to enroll in Salsa classes, where her teachers were Pablo Demaro and Kimena Puente.
As for Juan Pablo Villar, during his youth, he worked as a waiter in a bar and took theater classes, which also included lessons in national folklore and Latin rhythms (Salsa). This was his first contact with dance, and from that moment, he developed an interest in it. One day, a person came to the bar and mentioned that they taught classes in a studio, asking if they could leave flyers at the bar for people who wanted to dance. Knowing this, Juan Pablo Villar decided to go to the Salsa classes taught by Professor Pablo Demaro.
They explain that the Salsa classes back then were in a Cuban style, which featured fairly simple movements and figures. It was in these very classes that the future directors of KADENZA, Juan Pablo Villar and Yamila Larraura, first met.
The Journey to Kadenza
To gain a better experience, and to teach and give classes, they had to learn new techniques. They decided to seek out the best teachers in Argentina, who at that time were from the “Escuela de Mambo en Dos,” led by teachers Liz Paredes and Carlos Aragón, until they moved to Italy in 2007.
Afterward, they formed a dance group with their colleagues called “Combo Bayres,” during which time they toured the country and performed on various stages. In 2007, Liz Paredes and Carlos Aragón returned from Italy and formed the “Compañía Mambo en Dos,” where Yamila Larraura and Juan Pablo Villar joined the project. They gained great experience in the artistic world, traveling to different Argentine cities like Mar del Plata, Rosario, among others.
They also had the opportunity to travel abroad, attending the Salsa Congress in Uruguay, and later going to the United States, to New York City, to present at the Salsa Congress where they met great dance legends like Eddie Torres. Another great experience they had was the honor of being the official dancers for the famous Venezuelan Salsa singer “Oscar D’León” and the Dominican Salsero José Alberto, also known as “El Canario.” By 2010, they left the Mambo en Dos company to start their own school.
The academy’s beginning went without a name for a year, simply referred to as Pablo and Yamila’s school, but they were always looking for a name that would identify the essence they wished to convey. They eventually came up with “Cadenza,” which in Italian means “style of free rhythms.” To make the name more original, they changed it to “KADENZA,” feeling proud of their choice.
Contact Information
For more information, contact them at:
- Website: http://www.kadenza.com.ar
- Facebook:escueladebaile
- Phones: 5354-0957 / 15-3331-7875
- Email: [email protected]
- Google Plus: https://plus.google.com/106664874547676369685
- Youtube: https://www.youtube.com/channel/UC-he58RYqrJwoxoH8OID3ZA
Solar Latino Academy
Latin America / Venezuela / Caracas
Solar Latino Academy
It is an academy located in Caracas, Venezuela, founded by passionate dancers and instructors who dedicate their time and effort to teaching future well-rounded dancers. They use didactic methods to provide dance knowledge, expanding their students’ horizons and future at a national and international level.
They feature a great environment where students not only acquire dance knowledge but also enjoy their activity. They perform on stage to demonstrate the high quality of the show and to showcase innovative fusions of dance, aiming to position themselves as one of the best academies in the market.
In short, their vision as an academy is to “develop the best artistic working environment where our students learn and enjoy to the fullest.” “Basing this on the exigence and quality of our classes and shows, becoming a very competitive group, achieving national leadership and international recognition.”
The academy started with a group of students who learned to dance Salsa Casino for recreation, and as time passed, it became something more serious.
Starting in 2004, they began teaching family and close friends, and within a few months, they already had at least 50 students.
In 2006, the Solar Latino Academy was officially founded, starting with salsa casino. They later added diverse dance genres as they expanded their knowledge of integral dance and teaching methodologies, thus forming a large number of dance classes taught at the La Trinidad headquarters. The only founder currently at the academy is Oscar, who was responsible for instructing and training dancers and expanding the Academy. After achieving excellent results in national competitions and festivals, the Academy’s Dance Corps (Cuerpo de Baile) was formed.
They mention that they are currently a group passionate about dance and integral development, relying on dance as one of the most used tools for artistic and corporal expression. They also state that their work is maintained in constant artistic growth and teaching development, always applying “our innovative touch in everything we do.” They have even had the opportunity to participate in national and international festivals and, in addition to that, develop innovative events.
For more information, please visit:
- WebSite: http://solarlatino.comve/nosotros
- Facebook: AcademiaSolarLatino
- Instagram: solarlatino
- Twitter: SolarLatino