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12th edition of the distinguished Salsero and tourist Festival of Venezuela

Latin America / Venezuela / Caracas

Venezuela land of salsa by nature year after year offers us a space dedicated to this beautiful dance, mainly framed in the presentation of the talent of more than 150 dance schools registered as diffusers of Salsa in this country and an expected visit of guests and foreign public. will make the so named Venezuela es Latina an event to remember. With 12 years of successful editions, it invites us not to one more edition, it calls us to enjoy 4 nights and 3 days of multiple activities, best of all, nights of great social parties.

Venezuela es Latina XII Festival - Flyer — Venezuela es Latina XII Festival – Flyer

Venezuela is Latina, an event with more than 11 years of experience, organizes for this 2018 edition a festival full of workshops, seminars, forums, certifications, bootcamp, shows, competitions and good local tourism, the ideal space for everyone who wants to meet one of the most emblematic tourist and salsa lands in the world, the famous Venezuela.

This 12 installment gives us a cycle of more than 20 hours of classes and training cycles distributed in workshops, seminars and Bootcamp on days dedicated to the professional training of dancers or dancers, as well as instruction for visitors, novices and / or dance fans.

We will be able to delight ourselves with the knowledge of the best instructors from Colombia, Ecuador, Cuba, Venezuela among other countries that remain to be confirmed, with workshops of the most sought-after disciplines, added to this 3 high-caliber seminars of theoretical and practical content that seeks to certify participants.

For the general public, Bootcamps are offered guided by the organizing academy, the Son Rumbero school, which for 2 years has brought this famous practice to the festival, giving attendees the opportunity to do a cycle of classes that ends when they appear on stage. along with the best dancers of the moment on the main night of the festival.

For lovers of good music, there will be a meeting of salsa and timba fans or collectors, where we can enjoy the best musical themes, acquire good music, together with 3 nights of parties and social dancing to share with all attendees, framed in nights of enjoyment and sharing between dancers and sympathizers of these great rhythms at the hands of the best guest DJs.

Stage of the Venezuela es Latina XII Festival

For those who wish to visit this great event, the organizing committee has distributed all-inclusive packages for Colombia, Ecuador, Peru, Uruguay, Chile, Argentina, Central America, North America and Europe, with 5, 4 and 3 star hotels adapted to each need. In the same way, free packages are offered for promoters, directors or group managers who visit the festival.

Everything is ready for the 12th edition of this festival, the city of San Cristobal – Táchira State will offer us the best spaces to enjoy 4 days of great Latin things, a city 30 minutes from the border with Colombia in Cúcuta that speeds up access from the south. Dare to be part of this great festival, for more information, contact through social networks: @vzlaeslatina on Instagram and Facebook. Telephones: +573114061366 / +584126142562.

Salsa at its best, led by the leader of La Puertorriqueña: Don Perignon

The most recent production of the Bailable Víspera de Reyes, which was instituted in 1987 by the timbalero and band leader known in the salsa scene as Don Perignon, was quite an event. Thirty-eight years ago, ‘La Puertorriqueña’ was still known as ‘Compañeros y amigos’.

El líder de La Puertorriqueña, Don Perignon

However, the dance that fulfills a promise made by Perignon to kings has continued to be celebrated beyond the names with which Perignon has identified his band over time.

Each year, the show brings with it a box of surprises. In addition to what is promised during the promotion, the salsa public that comes to the traditional gala knows that anything can happen there. This year, the stage showcased great artists in addition to the luxurious closing that gave us the night by way of El Caballero de la Salsa, Gilberto Santa Rosa performing the emblematic song by Johnny Ortiz, ‘Tu música popular’.

Ángel Martínez, Efraín Hernández, Don Perignon y Miguel Aponte

In this edition, held on January 5, 2025, the concert was started by the successor of the Perignon dynasty, also a percussionist, Pete Perignon; flanked by vocalists Ricardo Rodríguez in the more melodic songs and Julio López in the heavier numbers. López got the first turn at the microphone with ‘Azúcar pa’ un amarga’o’, followed by Rodríguez in the key of ‘Cuéntame tu historia’.

According to Pete himself, he invited Jorge Yadiel Santos to silence rumors regarding the singer’s departure from his orchestra. With the vocal power that characterizes him, the now soloist closed the presentation of the first orchestra of the night; performing ‘Baila’ and ‘Gotita caído en clave’.

Cuto Soto, Gamalier González, Rafy Torres, Pedro Marcano, Carlos __Coamito__ Martínez, Jr., Ángel Segarra y Humberto Ramírez

The group led by Pete Perignon and his timbal offered a great performance with master musicians of the present generation. These were: Jean Carlos Camuñas on the tumbadoras, Carlos Pagán on the bongó, Reynaldo Burgos on the piano, Jorge Rivera on the bass; Víctor Ambert and Jahaziel García on the trumpets; Darnell Febres and César Javier Ayala on the trombones, and Víctor “Yuca” Maldonado on the baritone saxophone.

La Mulenze kept the crowd on the dance floor, with the first song of their repertoire being ‘La sala pa’l baile’, performed by Rafy Andino. The vocal front was completed by Rafy Cruz and Alex Ojeda. The bassist, director of the orchestra of eternal youth, Edwin Morales led his boys, as he affectionately refers to his musicians; Among them were Emanuel Navarro on the tumbadoras, Robert Watts on the timbal, Alberto Muriel on the bongo, Manolo Navarro on the piano, Carlos “Coamito” Martínez, Jr. and Abdel Rivera on the trumpets; in addition to Willie Torres Ortiz and Heity Morales Nogueras on the trombones. The golden touch was offered to those present during the interpretation of the song “Mala paga”, written by our Moncho Rivera, when the Venezuelan master musician and sonero Marcial Istúriz took on the task of accompanying Rafy Andino on the soneos, shortly after Rafy confessed to being a great admirer of one of the greatest exponents of the salsa sound in Venezuela.

Henry Santiago, Joe González, Rico Walker, Marcial Istúriz, Hermán Olivera, Jerry Rivas, Pichie Pérez, Josué Rosado y Pedro Brull

Before starting his presentation, the star of the annual gala, Don Perignon marked and conducted the orchestra to play ‘Happy Birthday’ in honor of the evening’s host, also Z-93 announcer: Néstor Galán, “El Búho”. The timbalero conducted the orchestra, which was reinforced for the evening with guest musicians. The group in its Bailable Víspera de Reyes 2025 version was composed of: Charlie Padilla on the tumbadoras, Miguel Aponte on the bongó, Ángel Martínez on percussion (güiro), Luis Marín on the piano, Efraín Hernández on the bass; Cuto Soto, Gamalier González and Rafy Torres on the trombones; in addition to Pedro Marcano, Carlos “Coamito” Martínez, Jr., Ángel Segarra and Humberto Ramírez on the trumpets. For the vocal front, Perignon called on: Henry Santiago, Pedro Brull, Joe González, Pichie Pérez, Josué Rosado, Jerry Rivas, Rico Walker, Marcial Istúriz, Hermán Olivera and Gilberto Santa Rosa.

The repertoire took the followers of La Puertorriqueña on a historic tour that demonstrated the variety of songs and voices that come together in a salsa key with the cadence and flavor that Perignon manages to give to each project he leads. Joe González performed ‘Ciudad, ciudad’, Pedro Brull excelled singing ‘Represento’, Pichie Pérez was in charge of vocalizing ‘Como mangó’, Josué Rosado visited to sing ‘Cantándole al amor’, Jerry Rivas was in charge of ‘El pin pin’, Rico Walker shined with ‘Que vengan rumberos’, followed by Marcial Istúriz and a masterful interpretation of ‘La familia’ and Hermán Olivera with his spectacular ‘Ritmo Bembé’.

Marcial Istúriz comparte micrófono con Hermán Olivera

La Puertorriqueña was born in 1988 near the promise of Kings, which happens every January 5. The dance of January 5, 2025, which was held at the Sheraton in San Juan, Puerto Rico and was dedicated to trombonist Toñito Vázquez (RIP) showed that the promise of Reyes by Don Perignon -who is the leader of a generation of musicians- established more than three decades ago, remains valid. The participation of El Caballero de la Salsa recreated the beginning of his career, together with his first musical director: Don Perignon. That brotherhood between Gilberto and Perín, like the promise of Reyes, also remains valid. For our part, we will continue in salsa thanks to the call of the leader of La Puertorriqueña.

Also Read: Don Perignon and La Puertorriqueña are prides of Puerto Rico

Mariana “The Sonera of Venezuela and for the world”

Janett Guevara García, artistically known as Mariana “La Sonera de Venezuela”, was born in La Pastora, Caracas on January 19, daughter of Reina García and Vicente Guevara.

Daughter of Reyna García and Vicente Guevara, she is the oldest of six siblings and from a very young age she showed her taste for music; an activity that has been her eternal passion, and has led her to make 12 record productions.

She is the oldest of six siblings and from a very young age she showed her taste for music; an activity that has been her eternal passion and has led her to make six record productions.

Educated in a convent school, she always participated and stood out in cultural events, until on one occasion she was suspended for telling the mother superior that there was a song called “La Cárcel” by Septeto Juventud that she wanted to sing at a cultural event.

At the age of 14, during her high school education, she learned to play drums and participated in the choir of the Caricuao Parish church where she lived.

As the years went by, Mariana was invited by Mr. Naty Martinez to a rehearsal, who was impressed when he heard her and decided to make a musical production.

That is when Mariana’s true pilgrimage began, going through stages earning the admiration of salsa greats.

In past years, she received praise from Queen Celia Cruz and has the guarantee and support of the singers of the Fania Stars, the Gran Combo de Puerto Rico, José Alberto El Canario and even her great friend and fellow countryman Oscar D’León.

Oscar El Sonero del Mundo y Mariana La Sonera de Venezuela

Mariana has been worthy of awards such as “El Congo de Oro” at the Barranquilla salsa festival.

She has been praised by personalities such as Don Tite Curet Alonzo. Mariana alternates her exciting career with the media, where she has a radio program dedicated to our Latin music “Sonsoneando con Mariana” winner of the 2010 Excellence Award, as a popular radio space in the Vargas State Venezuela.

She recently participated in the heartfelt tribute to the 50 years of artistic career of maestro Elio Pacheco, founder of the Latin Dimension, where she recorded an excellent song called “Al Olvido”.

She received praise from the Cuban queen Celia Cruz, and has the support of singers such as the Fania Stars, José Alberto “El Canario”, the Gran Combo de Puerto Rico and even her friend and confidant Oscar D’ León.

“Oscar represents more than a friend to me; he is like a brother. When he has a presentation in Vargas he does not hesitate to call me to see us and talk about our projects. I thank him a lot for his advice, because it has helped me to be where I am. The responsibility of being La Sonera de Venezuela falls on my shoulders.”

Y así quedó esta Sonera para su noche boleros

She has managed to release 12 musical productions. Among her best-known songs are “Frases hecha” in 1996, recorded in Peru and “Eres más fuerte que yo” by the composer Enrique Hidalgo.

Awards obtained

La Sonera has been worthy of multiple awards, including the “Congo de Oro” at the Barranquilla Salsa Festival, as well as the nomination three times in a row for the Vargas Excellence.

She has also received plaques as Female New Artist of the Year and Best Sonera in Caribbean Representation.

“I will never forget when they gave me the Catatumbo de Oro in Maracaibo, in the year 2000. It is one of my greatest achievements.”

Mariana La Sonera en el Santuario de La Divina Pastora en Barquisimeto

My family is my life

At just 18 years old, Mariana became a mother for the first time. “It is something that very few people know, but my first husband mistreated me physically, verbally and psychologically. The only thing I can be thankful for from that relationship is the existence of my son.”

She is currently a speaker, producer, and host of her own radio show “SONSONEANDO CON MARIANA,” broadcast Monday through Friday from 12:00 AM to 2:00 PM on Dial Azul 95.9 FM. At the same time, she directs her own group and is part of Jeque y su Banda, the Rumberos Callejón orchestra, directed by the experienced timbalero Carlitos Padrón, where she shares the stage with Rodrigo Mendoza, Wilmer Lozano, among others.

Edgar Dolor, Hayzalex, El Jeque, Janett Trejo, Mariana, Frederick, Carlitos Hurtado

Research Sources:

Djane. Shina Rojas

Luisana Brito, [email protected]

Also Read: “Canelita Medina” Caribbean popular music loses one of its best exponents

Salsa, territory of joy.

Latin America / Venezuela / Caracas

Salsa, territory of joy, language of celebration, enjoyment of the towns and their people, was born from a confluence of facts, geniuses and rhythms. Confluence that happened in the faith of the same religion: Afro-Cuban music.

And that mixture, which Richie Ray and Bobby Cruz cleverly described as “similar to the tomato sauce that is put on hamburgers to give them flavor”, was summed up in the insightful sentence of the occasional witness, the journalist Phidias Escalona: “the music that you make is salsa. From now on we will call it sauce”.

The year was 1968 and although the new rhythm already existed, there had been no consensus on the name. And that consensus began to emerge -perhaps for the first time- on the album “Los Durisimos The Strong Ones, Salsa y Control”, by Richie Ray and Bobby Cruz. Later, Richie himself would add: “The word was born around us, (however,) if it weren’t for (Jerry) Masucci there would be no salsa, because he brought it to the world.”

In 1960s New York Harlem, black Americans had begun to like Latin music, despite not speaking Spanish.

Ama a tu musa como a ti mismo - Salsa — Ama a tu musa como a ti mismo – Salsa

The guajira dazzled them until they made them dance. Believing that the mixture of boogaloo, blues, mambo, guaguancó or son montuno, was a variant of the boogaloo invented by Chubby Checker, the new rhythm was founded, incorporating the concepts of the Latin spirit in their interpretations and that -technically- they would add to the baggage : percussion, piano, violins, trumpets, trombones and whatever instrument would serve to give it flavor and richness.

Cocola' Wears - Venezuela Salsa — Cocola’ Wears – Venezuela Salsa

Musically, for example, the so-called “blue notes” would be added (that is how the overtones of the acoustically weak E and B notes, last to be added to the scale, where they would be relocated between Lam and Lam) would be added to the new fusions. Then came the downloads and phrases that we know until now as characteristics of salsa.

Thus the sauce was born. And so it has been transformed, always within the circle that encloses joy, passion and enjoyment, history, experiences, fortune or misfortune, seen from different perspectives: urban, social, sensual or everyday.

Marcial Isturiz. The Versatile of Salsa

Latinoamerica / Venezuela / Caracas

Martial Isturiz. The Versatile Salsa 28 Years In Music

“28 years in Music. It is said easy. Very easy”

But *ALL* that path of dirt and grime that has been walked, is now a flowery field. I thank those who have supported me and those who have not, because they make the perfect balance.

To my brothers in life that I have cultivated in music, old and new.

Photo - Marcial Istúriz and his drums — Photo – Marcial Istúriz and his drums

To my ancestors for bringing the Drum and its color and making me the Negro Congo that I am.

To *my mother*, for life and for giving me love in her own way.

To *my father*, for the seed and the iron upbringing that many young people currently lack. Bad or good, I had it next to me, and that’s more than enough.

To my musical influences, foreign and national, with whom I have largely had the blessing of working with them.

Photo 2 - Marcial Istúriz and his drums — Photo 2 – Marcial Istúriz and his drums

To those who reached out to me at specific moments in life: Tomás, Jimmy, Manuel, the Calatayud García. They are in my heart.

Thanks to music, which saved me from being the best *Pran* in the world. Because my grandfather told me that if he wanted to be the best at something, he’d pigeon him. Whether he was a sweeper, or a bricklayer, or a salesman, but he must be the best.

Thanks to my brothers Ángel and Armando, and to my cousins Manuelito and William, inveterate music lovers, who fed my soul and ears, and opened my brain musically.

To my teachers and brothers of the Latin Dimension, because our anniversary dates coincide, and for allowing me to be One more DIMENSIONER, when they require #Eteketakí. They carry 46 by the chest, today too!

I am not what I am without any of you.