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Search Results for: salsa in venezuela
Tempo Latino
Europe / France / Vic-Fezensac
Tempo Latino: The biggest party for every Latin Music lover in Europe!
In Vic-Fezensac, in the heart of Gers in Gascony, Tempo Latino is the biggest European festival of Latin music and Afro-Cuban, salsa, Latin jazz and hip-hop. This is a reference to music and Latin music. This year they are bigger than ever with the participation of dancers, musicians, orchestras and amazing dj’s around the world.
Tempo Latino presents each year for 4 days and 4 nights, a varied concerts and internship program with artists and professors of international level including from Cuba, Puerto Rico, Colombia, Venezuela, Panama, Africa, US, Europe and Japan.
Thursday, July 27
The party starts on July 27 with the Colombian group Puerto Candelaria. This amazing group was formed in 2000 in Medellín, Colombia, the result of the fateful meeting of six talented musicians, united and guided by talented composer Juancho Valencia to create a totally new and original musical show.
The imaginary land of Puerto Candelaria is a sonorous place and the spiritual home to the members of the group and to all who enjoy taking a musical journey with the sound of the Candelarios. The group’s founders never imagined that a decade later their idea would come to be hailed the most daring, controversial and innovative Colombian musical project of recent times.
Puerto Candelaria bases its sound in popular Colombian rhythms, full of imagination and magical spirit that provoke the senses and awaken heightened emotions in audiences around the world.
Their creation of contradictory rhythms like Cumbia Underground or Jazz “a lo Colombiano” is responsible for creating a special place for their country in the global markets of jazz, experimental, and world music. On Thursday and thanks to the France-Colombia’s year celebration, this day will be a reunion between these two cultures.
Friday, July 28 Calypso Rose
Then, on July 28 you will have the pleasure to see the performance of Calypso Rose. This iconic singer is a calypsonian. She began writing songs at the age of 15, turned professional in 1964 and has written more than 800 songs and recorded more than 20 albums.
Saturday, July 29 Unity. Michael Jackson Latin Tribute
Friday 29 will be time to present the Michael Jackson Latin Tribute with the amazing show of the talent of Tony Succar and Unity. Unity is a testament to the power of music and one man’s indomitable spirit.
The passion project of Peruvian-born, Miami-raised producer/multi-instrumentalist/arranger Tony Succar, Unity features more than 100 musicians, such Latin superstars as Tito Nieves, Jon Secada and Obie Bermúdez, and the mixing magic of Jackson’s legendary engineer Bruce Swedien in the first ever Latin album salute to The King of Pop.
Sunday, July 30 Orkesta Mendoza
And finally, the event will end with the concert of Orkesta Mendoza. Orkesta Mendoza is a Latin music band from Tucson, Arizona. It was founded by singer and guitarist Sergio Mendoza in 2009. Through the use of Latin percussion, accordion, brass, and steel guitars, the band’s style, dubbed “indie mambo”, is a combination of ranchera, cumbia, psychedelic and indie rock.
- Sergio Mendoza – vocals, piano, guitar
- James Peters – drums
- Joe Novelli – lap steel guitar
- Marco Rosano – saxophone, clarinet, accordion, keyboard
- Salvador Duran – vocals, cajón, maracas
- Sean Rogers – double bass
With all the concerts, dance and parties, you can’t miss the summer event that brings all the Latin talent to Europe.
Tickets: Pre-sale prices
- One night 30€ – 36€
- 4 days pass: 100 – 120
- Free entrance for kids under 12 years old
Transportation and accommodation
Transport: http://tempo-latino.com/CommentVenirTempo
Accommodation: http://tempo-latino.com/Hebergement
Our favorite Dj’s: DJ Mabe / Jacoviche / Emile Omar / Jomax …
For further information and tickets:
- http://tempo-latino.com/accueil
- Tourism office in Vic Fanzensac : 05.62.06.34.90
- Telephone: 05.62.06.40.40.
And all the social networks
- Facebook: @tempolatino
- Twitter : @tempo_latino
- Instagram: @tempolatino
- Youtube: tempolatinofestival
Omar Ledezma Jr. shares with us the new from his project with Azesu
Today’s guest needs no further introduction because you know him very well. This is the talented Venezuelan percussionist and singer Omar Ledezma Jr., with whom we have been able to talk about his latest projects, one of which gets him focused and excited in equal parts.
What is Omar Ledezma Jr. up to now?
After showing his gratitude for the latest of many invitations we have made to him in International Salsa Magazine, Omar went on to describe the new phase of his career, in which production plays a major role. We are talking about a project he has been involved in since 2011 called Azesu, which includes great musicians and is led by Cuban percussionist Orestes Vilato.
Although the initiative had progressed considerably, Omar and the rest of the group are still waiting for official communication from the social media of the organization that will fund the project by the artists who have applied for it. The group is awaiting approval, although they already have promotion, photos, and a series of details ready to be released once the financing becomes a reality.
What was required of Omar and the rest of the team to present the project
At the beginning, the idea of a recording was floated because this was one of the categories in which artists could apply for funding, so Omar and the others chose to pay tribute to Orestes Vilato. The organization loved the idea, which led them to be one of the groups chosen to receive this financial aid, and they are very happy about that.
However, not everything was rosy, as the members of Azesu could not find the right moment to start recording due to personal situations of some of them and the arrival of the pandemic. After overcoming all that, Jonathan Alford, the group’s pianist and overall director on the project, came to Omar with the idea of recording a second album (they had already recorded one in 2011, also called Azesu) to resume the project they had left behind.
It was then that the Venezuelan artist came up with the idea of paying tribute to Orestes and, in turn, bringing to life some of the lyrics written by his father, who passed away two years ago.
The material also seeks to be a tribute to that generation that is quickly departing, which is why Azesu tries to recreate those concepts and that way of making music, but at this time.
Timeline and objectives for the project
When Azesu released his first album in 2011, it all started with Orestes calling some of the group’s members, who were pianist Jonathan Alfort, Venezuelan singer María Fernanda Vázquez, Peruvian bassist David Pinto, and American saxophonist Sheldon Brawn.
The project is not conceived as a commercial album in every sense of the word, but as a hymn to Las Americas that has a little bit of everything, including jazz, folklore, popular music, dance music, and many more elements coming together to create a unique and different result.
It is also important to note that Azesu’s new album, next to release in 2016, will feature new tracks and covers with completely new versions in the style of Azesu, some of which will be sung and others instrumental. In addition, the new music was composed and arranged by Jonathan and David, although Omar also played an important role in the creative process when it comes to lyrics and melody. It is anticipated that they will enter the studio to start recording in about three weeks, and the album is expected to be released before the summer of 2026.
Omar and teaching
We have already addressed the issue of Omar and his role as a teacher in previous editions, so we wanted to know if he is still teaching and which capacity he is using. The musician replied that the teaching part has been and will remain very important in his overall project as an artist, as he believes that, due to his profession, he has a great responsibility to showcase the music he grew up with and the instruments that have allowed him to develop his career.
He currently teaches Latin percussion at the California Jazz Conservatory at Berklee, which is basically a summer ensemble where students learn to play congas, timbales, and bongos. During the rest of the year, he focuses on specific instruments and developing the tumbadora curriculum.
He also offers private lessons in which students can enjoy a much wider range of instruments to learn, such as drums, cajón, bongos, timbales, and much more.
Omar concluded this important topic by saying, “I always take on the idea of remaining a student. Just as I teach classes, I want to continue acquiring knowledge and taking classes with teachers who know many things I don’t.”
Read also: Caesar Vera Y Su Sexteto NuevoSon, traditional Cuban music with a touch of modernity
Miguel Zenón is widely regarded as one of the most innovative and influential saxophonists and composers of his generation
“Miguel Zenón, this young musician and composer, is simultaneously re-establishing the artistic, cultural, and social tradition of jazz while creating an entirely new jazz language for the 21st century.”
Born and raised in San Juan, Puerto Rico, Zenón has released seventeen recordings as a leader, including his most recent, the Grammy-nominated Golden City (2024), and the Grammy-winning album El Arte Del Bolero Vol. 2 (2023).
He has collaborated with luminaries such as The SFJAZZ Collective, Charlie Haden, Fred Hersch, Kenny Werner, David Sánchez, Danilo Pérez, The Village Vanguard Orchestra, Kurt Elling, Joey Calderazzo, Steve Coleman, Ray Barreto, Andy Montañez, Jerry Gonzalez & The Fort Apache Band, The Mingus Big Band, and Bobby Hutcherson.
Zenón is a Grammy Award winner, a Guggenheim Fellow, a MacArthur Fellow, and a recipient of the Doris Duke Artist Award.
He also holds an honorary Doctorate of Arts from the Universidad del Sagrado Corazón.
Widely considered one of the most innovative and influential saxophonists and composers of his generation, he has also developed a unique voice as a conceptualist, focusing his efforts on perfecting an excellent blend of jazz and its many musical influences.
Zenón has released numerous albums as a bandleader and has appeared on over 100 recordings as a sideman.
Música de las Américas: A Masterpiece
With Música de las Américas, Puerto Rican saxophonist Miguel Zenón has created his finest album to date since his professional debut twenty-two years ago.
On this album, Zenón is accompanied by the same combo he has worked with on his recent projects, notably Venezuelan pianist Luis Perdomo, with the addition of some high-caliber percussion reinforcements from his native Puerto Rico.
Música de las Américas presents a very appealing balance across its eight tracks, weaving classic Latin jazz with more modern jazz forms, venturing into the turbulent waters of free jazz when necessary (as heard in ‘Venas Abiertas’), and incorporating traditional music from his homeland.
Zenón’s compositions aim to reflect the dynamism and complexity of indigenous American cultures (‘Taínos y Caribes,’ which opens the album), as well as their encounters with Europeans and the resulting historical implications, exemplified by tracks like ‘Imperios.’
As Miguel Zenón himself has stated, “the music on the new album is inspired by the history of the American continent, not only before European colonization but also by what has happened since.”
Música de las Américas serves as a kind of manifesto for Zenón’s concept of America as a continent.
This new musical offering from the alto saxophonist, born in San Juan, Puerto Rico, in 1976, was conceived during the pandemic (does anyone remember that there was a pandemic in 2020 and 2021 originating in the People’s Republic of China that caused thousands of deaths?). The book ‘Venas Abiertas’ by Uruguayan writer Eduardo Galeano, who passed away in 2015 and was a prominent figure of the Latin American left, played a significant role in its development.
Zenón has been featured in publications such as The New York Times, The Wall Street Journal, The Los Angeles Times, The Boston Globe, and The Chicago Tribune. He also topped the Jazz Artist of the Year and Alto Saxophonist of the Year categories in the 2014 JazzTimes Critics’ Poll and was selected as Alto Saxophonist of the Year by the Jazz Journalists Association in 2015, 2018, 2019, and 2020 (when he was also recognized as Arranger of the Year). In 2023, he was recognized by the same organization as Composer of the Year.
As a composer, he has received commissions from SFJAZZ, NYO Jazz, The New York State Council on the Arts, Chamber Music America, Logan Center for The Arts, The Hyde Park Jazz Festival, The John Simon Guggenheim Foundation, MIT, Spektral Quartet, Miller Theater, The Hewlett Foundation, Peak Performances, PRISM Quartet, and many of his colleagues. Zenón has given hundreds of lectures and masterclasses at institutions worldwide and is a faculty member of MIT’s Music and Theater Arts Department, as well as the current Visiting Scholar for the Jazz Harmony and Composition Department at Berklee College of Music.
Ultimately, Música de Las Américas is the product of Zenón’s intellectual curiosity to learn more about the history of America (the continent) and translate that history into music (distritojazz).
Miguel Zenón – Música De Las Américas (2022)
Tracks:
- Tainos y Caribes
- Navegando (Las Estrellas Nos Guían)
- Opresión y Revolución
- Imperios
- Venas Abiertas
- Bámbula
- América, El Continente
- Antillano
Musicians:
- Miguel Zenón (Alto Saxophone)
- Luis Perdomo (Piano)
- Hans Glawischnig (Bass)
- Henry Cole (Drums)
Guest Musicians:
- Los Pleneros de La Cresta (Emil Martinez, Edwin “Wechin” Aviles, Joshuan Ocasio, Joseph Ocasio, and Jeyluix Ocasio) (Panderos, percussion, and vocals on #2)
- Paoli Mejías (Percussion #3)
- Víctor Emmanuelli (Barril de bomba #6)
- Daniel Díaz (Congas #8)
Recorded at Big Orange Sheep, Brooklyn, New York, March 21-22, 2022.
Zenón lives in New York City with his wife, Elga, and their daughter.
By:
Also Read: Luis Perdomo, one of the most diligent jazz pianists in New York
Eduardo Tancredi is a renowned Uruguayan pianist and composer specializing in Latin Jazz
Eduardo was a distinguished student at Berklee College of Music in Boston.
Musical Style: His music fuses a wide variety of Afro-Latin rhythms (such as Uruguayan candombe, Brazilian samba, Cuban son, Peruvian landó, and Venezuelan joropo) with the harmonies and melodies of modern jazz.
Accolades: He has recorded several CDs with his own compositions and has received awards for his outstanding performance in the Latin jazz scene. His album “Ongoing Dreams” was chosen as the best album in its category in 2002 by “The Boston Globe.”
Teaching Experience: During his time in the United States, he was a piano and harmony professor at Berklee College of Music. Since 2003, he has resided in Barcelona and teaches at ESMUC (Escola Superior de Música de Catalunya).
Collaborations: He has collaborated with numerous musical groups as a pianist and is a significant figure in the jazz scene in Spain.
Eduardo Tancredi is a prominent figure in Latin Jazz, known for his ability to integrate diverse Latin American rhythmic influences with the harmonic sophistication of modern jazz.
Latin accents took some time to establish themselves in jazz music. Very few composers ventured into that genre in the early decades of the last century, to the point that their timid attempts were considered exotic and trivial.
Initially, one recalls passages from William C. Handy’s “St. Louis Blues,” some Scott Joplin ragtimes, Jelly Roll Morton’s references to the “Spanish tinge,” or, shortly after, the themes performed by Duke Ellington’s orchestra.
It was in the 1940s that the Latin touch gained relevance. Cuban Mario Bauzá, who had played trumpet in Chick Webb’s and Cab Calloway’s orchestras, propelled the success of Machito’s band and convinced Dizzy Gillespie to hire conga player Chano Pozo.
Afro-Cuban influence became powerful in the following decades through sones, charangas, rumba, mambo, and salsa. Names like Chico O’Farrill, Tito Puente, Mongo Santamaría, Ray Barretto, and Chucho Valdés became highly regarded, and their works inspired a legion of jazz musicians.
Latin jazz today has a strong presence in popular music, and Uruguayan Eduardo “Edú” Tancredi is a brilliant exponent of that style. He was an outstanding student at Berklee College of Music in Boston, where he won awards such as the Quincy Jones Award and the Outstanding Latin Act Award.
After his acclaimed “Ongoing Dreams” from 2002, this CD, “Venimos Tumbando,” recorded in 2007, now arrives with ten formidable compositions and his own arrangements. His background in Latin American folklore plus his jazz studies have achieved a splendid confluence that is enjoyed from beginning to end on this album.
His versatility as a composer is evident in candombes (“La mama vieja” and “Montevideo”), a baião (“Baialona”), a chorinho (“El germen”), a zamba (“Zamba del aire”), and the obvious references to Afro-Caribbean rhythms that unite their exciting cadences with jazz elements. Edú’s works are incisive, stimulating, possess an overflowing swing, and it’s easy to imagine the musicians’ pleasure during their performance.
The arrangements contrast the different orchestral sections, highlighting their diverse sound textures, suggestive harmonizations, and enhancing the dynamics and fiery percussion instruments. Three saxophones, piano, guitar, bass, and drums alternate with ten other guest musicians (vocals, sax, harmonica, two basses, two drum sets, and three percussionists), generating a sonic turbine that captivates the listener from the first note.
This doesn’t mean that all tracks propose an overwhelming rhythm. There are passages of beautiful lyricism, as in the two versions sung by Ana Finger, or the pleasant harmonica of Antonio Serrano, or the director’s piano in “Como un blues.”
The soloists perform at a high level, with special mention of Miguel Zenón’s alto sax, an improviser of fresh ideas, clean musicality, and great inspiration and fervor. The interventions of guitarist Alejandro Luzardo, trumpeter Matthew Simon, tenor saxophonist Eladio Reinón, and baritone saxophonist Xavi Figuerola are also noteworthy.
“Venimos Tumbando” confirms Tancredi’s talent as a composer and pianist and his skill as an orchestra conductor. Abilities he generously demonstrated during his acclaimed performance at the Teatro Solís last December. Thomas Werner
Edu Tancredi & Bandon 33 – Venimos Tumbando (2007)
Tracks:
- El Subibaja
- Hocus Pocus
- Montevideo
- El Germen
- La Mama Vieja
- Baialona
- Mapa Del Mundo
- Venimos Tumbando
- Como Un Blues
- Zamba Del Aire
Musicians: Edu Tancredi (Piano) Ana Finger (Vocals) Antonio Serrano (Harmonica) Mathew Simón (Trumpet) Pere Grau (Soprano sax, alto sax) Miguel Zenón (Alto sax) Eladio Reinón (Tenor sax) Juajo Arrom (Trombone) Xavi Figuerola (Baritone sax) Alejandro Luzardo (Guitar) Matías Migues, Paco Weht, Javier Gómez (Double Bass) Santiago Blanco, Salvador Toscano (Drums) Carlos Reyes “Compota”, Alejandro Luzardo, Santiago Blanco, Alexis Liden, Sandro Lustosa, Salvador Toscano (Percussion)
Information By:
Also Read: Arturo “Chico” O’Farrill. “The Architect of Afro-Cuban Jazz”