Search Results for: salsa in venezuela
Latin America – March 2022
Memo Arroyave, entre las voces más importantes e impecables del Caribe
Considered as one of the faithful representatives of Venezuelan salsa, the young vocalist Guillermo José “Memo” Arroyave, born on July 22nd in the city of Caracas, arrives to “Salsa Escrita” for an exclusive interview.
Memo Arroyave, continues to project himself with more and more quality and professionalism, characteristics that define him in the Caribbean music genre at the national and international levels.
In a pleasant and enjoyable conversation with Memo, he told us about his career and his current and future projects.
Memo Arroyave, welcome to Barquisimeto’s salsa column “Salsa Escrita”; it is a great pleasure for us to have you as our special guest and we would like you to tell us about your beginnings in your artistic career.
-Thank you Carlos for the opportunity you are giving me to reach your readers in a direct and fraternal way.
Memo Arroyave, among the most important and impeccable voices of the Caribbean
My beginnings in the world of music and show business date back approximately to 1996, when I was a student of the successful Venezuelan Rafa Galindo (R.I.P.D.), the musical legend of our country.
Then I ventured into the stages forming part of different groups in Caracas, such as Partitura Latina, Orquesta Gente Novel, Orquesta Ensueños, Galaxy Latin Band, El Código Salsero, among others.
-Memo, which artists have you shared the stage with, what can you tell us about them? Professor Carlos, I have had the opportunity to share the stage and accompany, on occasions, as a soloist and others as a backing vocalist, national and international artists of the stature of: Andy Montañez, Ismael Miranda, Viti Ruiz, Christian Fernandez, Adalberto Santiago, Pupy Santiago, Paquito Guzman, Roberto Blades, Jose Mangual Jr, Max Torres, Wichy Camacho, Willman Cano, Nino Segarra, Nelson Arrieta, Marcial Istúriz, Mandinga Star Band, Wílmer Lozano, Wiwi Buznego, Wílmer Cobos, Cheo Valenzuela, Miguel Araujo, Erick Franchesky, Irving Manuel, Ángel Flores, Samir Bazzi, Manuel Guerra y su Orquesta, and in December 2019, I shared the stage with Hermán Olivera, Luisito Carrión and Frankie Vásquez.
-Regarding current projects, what can you tell us about them? I am part of several projects simultaneously my friend Carlos, among which stand out: Orquesta Puma Band, Victor Cardona y la Máquina de la Salsa, La Rumba Sonora de New York, Afro Códigos and recently I was invited to participate in the 10th Anniversary album of “Los Rumberos del Callejón”.
Well Memo, for all that you have given us to know about your talent and dedication, you are an obligatory reference of the salsa show and we would like to know about your most recent and future projects.
-In fact, I recently recorded and released the song “Si falta el Aire”, a composition by the Spaniard David Santisteban, with arrangements by Enmanuel “Cerebro” Romero and under my production.
It was recorded in Caracas, Mexico, Miami, and New York, mixed and mastered in the Venezuelan capital, as part of my first musical production. Other of my hits are: “Y lloré”, “No Puedo estar sin ti”, which I did a duet with Rafael “El Pollo” Brito. And as a scoop for your salsa column “Salsa Escrita”, I already have the next promo ready and it is a duet with NG2 from Puerto Rico and last week was the release of the song with José Madera Niño “3º Mundo”, titled: “Me gustas pero…”, which is sounding strong and last year I recorded for a Colombian pianist, but he is based in Washington, United States, which made an album called “10” and among other singers participate: Rodrigo Mendoza, Mariana “La Sonora de Venezuela”, Marcial Istúriz, Gonzalo Díaz, Mike Barrios, which is a talentazo of Zulia state, who is currently in Mexico, my person and other people from other countries.
Soon I will be in the production that is in the process of mixing and where Argenis Carruyo, Oscar Arriaga, Wichi Camacho, and others also participate.
-Excellent Memo, I understand that in addition to your facet as a singer, you also dabble in the media?
That’s right professor, let me tell you that I am the nephew of Fernando Sosa Leal, I have done radio and television since 2002; I started with a radio program in the state of La Guaira, I was the director of the musicalization of Azul 95. 9 FM, then we did “Mundo Latino”, there I was as an animator with Fernando Sosa Leal and Luis Arturo in CMT, then in TVES, but I leave the project to devote myself more to my singing career and also went several times to Puerto Rico to the editions of the National Salsa Day, World Salsa Congress, to give coverage from there for all Venezuela and the Caribbean and recently as the producer of Strike 13 with Fernando Sosa Leal in his Bowling program for Meridiano TV.
Carlos, I wanted to thank you for the focus you give to the singer through your salsa column, if I may say individually and not so much as choristers, which of course is important, but in your work and interviews we have read the support and contribution you give to our musical productions and recordings with orchestras, since this way we make ourselves known to music lovers as well as to the public.
Finally, I want to thank you for your time and congratulate you for this work that you do with a lot of enthusiasm, with desire and that should be appreciated not only by me but by all musicians, artists who are giving it their all and that, if it were not for people like you, it would be even more difficult.
-Your social networks? Through @memomedicen, they are my accounts in R.R.S.S. Thanks, Memo for this connection we had and thank you for accepting the invitation to Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsaGoogle.com, we would also like to have you performing in our twilight city and musical capital of Venezuela and remind all artists that we are to serve them in an unconditional way in favor of our Latin music and obviously the Venezuelan talent that is unquestionably superior every day.
See you next time and let’s keep salseando!
Article of Interest: Henry Valladares, a brilliant, versatile, and disciplined percussionist
From Chile Nairoby and La Casa del Ritmo with their project “Vinyl Plater Productions”
Definitely that… “What we dreamed as children someday begins to materialize”.
And because I begin this review with this phrase, since all our childhood we were born in a salsero home we woke up with a musical background of the Sonora Ponceña, Gran Combo, Ismael Miranda, and when we went to sleep we would listen to a bolero by La Lupe, Celio Gonzalez or something by Joe Cuba, where we saw the cassette and acetate records so close and yet so far away because for us children that was untouchable, but we never lost faith in having what we longed for so much.
After almost 5 years of having emigrated to Chile, one Sunday shopping my husband Julian Rangel and I were walking through an antique fair and we saw a used turntable, but in good condition and at a tentative and affordable price so we both looked at each other and the language of our eyes spoke for itself… we bought it! and with them a couple of records to test the recent acquisition, that day we were super excited and decided to share this achievement with our friend Juan Joseph, who did not hesitate to come to the house to share some time with us, after several purchases and purchases and more purchases of vinyl because it became a passion was born:
PRODUCCIONES VINILOS PLATER EN CHILE (formed by Julian Rangel, Juan Joseph and my person Nairoby Plater).
A personal project to revive part of our childhood and that was taking shape when we started looking for a place to make a family party called El Arepazo Plater (where arepas are distributed and salsa dancing all night), after several months looking for a local call us and offer us a place called Club 440 to make our first salsa event in original format which was a challenge first because Chile is not a very salsero country and the strong Venezuelan public here is the salsa trunk or alcoba called in other countries, On the other hand, the place offered did not have a kitchen, it was small and so we could not realize what we had in mind in principle, however we reinvented ourselves and managed to do on October 17, 2021 the first Vinyl salsa matinee in Chile, which was a success and an appetizer for the contemporary salsero with a good ear and taste, dancer and who likes to enjoy and listen to less of the same and of course in Acetato.
So we began to see the meaning of our dreams, on January 1st of this year we made the first International Arepazo Plater in Chile under the production of Vinilos Plater in original format, in a place called Caracas Club, which was something extraordinary first because it was the first time that such a party was held here, and because we gave our countrymen exquisite Arepas and good salsa.
Thank God doors have been opening with other musicians such as Nohel Farias, producers such as Dj. Alexander Navas, Jorge from The Brooklyn Sound and venues like the Salsoteca where we have been invited on several occasions and we have left high the name of our beloved Venezuela, reviving and rescuing the format of the acetate, we also made an appearance at events such as Salsa Woman, Integration Salsera (audition of music lovers and collectors between Colombians and Venezuelan), private birthdays, Guateke and Salsa for Adults among others.
We know that this is just the beginning of a long way to go, to learn and to improve, but we thank God for guiding us and humbly continue working on new projects in the short, medium and long term, grow as collectors, music lovers, producers and continue to contribute and highlighting the invaluable of Vinyl, as music is very broad and infinite.
Facebook: Vinyl Plater Productions in Chile
Article of Interest: “Extravagante” is the ninth record production by Orquesta Mulenze
Pedro González
Musician, Instructor, And Pioneer Of Salsa Casino In Venezuela
“If people dedicate themselves to this, it is because we are doing it well.” This nice phrase arose from the pleasant and attractive telephone conversation about the history of the pioneer of Salsa Casino in Venezuela, the charismatic Cuban-Venezuelan musician and instructor Pedro González.
This affable musician and Salsa Casino instructor told us that he carved out his career from a very young age. He was born in Havana (Cuba) in 1966 and began his musical studies at the National School of Arts in the Havana capital at the age of ten, graduating in the specialty of Guitar (Short Course of 8 years) in 1984.
He comes from a musical family, his grandmother was the soprano Rosa “La China” and his mother (teacher and school principal) Zoe Portuondo Suarez, a distant relative of the singer Omara Portuondo.
“…Since I was little I liked to dance, I would dance everywhere. I learned with my cousin… I went to places like Playa… Besides, my mother danced a lot and my grandmother was a singer and she was also linked to the world of art…” Pedro commented.
His first job was as a music teacher in the Pinar del Río city, three hours from Havana. A short time later, he joins the Caranday group, and they play Son Cubano every night at the luxurious Hotel Nacional De Cuba.
After 45 days from his first presentation with the group, they meet the Venezuelan businessman Martín Gutiérrez, who takes them to Venezuela in 1993 to perform at private parties in the Falcón state.
Due to the few opportunities he had in Cuba, he decided to stay in Venezuela and formed the Latino Son band, made up of four Cuban musicians, and in turn began to be members of the Tropicana-style Cuban Fiesta Magazine (Show with a range of musical genres, interaction with guest singers, and dancers) in nightclubs of the Capital.
In Moments of pause with the musical magazine (1997), he undertook a tour with the Latino Son group with whom he traveled for almost all of Venezuela and toured the main stages of large national festivals such as La Feria del Sol (Mérida), Feria de San Sebastián (San Cristóbal), and La Feria de la Chinita (Zulia) among many others.
“We played permanently at La Giralda… At La Giralda we organized a party playing the Cuban Timba, then, there they called us “The Cuban Orchestra” in 1996, 1997, and 1998…”
During the ’90s and already residing in Venezuela, Pedro became the first Salsa Casino instructor in Venezuela without planning it as a life plan, and in 2000 he founded his homonymous academy that has graduated thousands of fans of this style of salsa dance.
Dancing is one thing that keeps you active. That is good for the body. If you have a problem in two hours or an hour and a half dancing you forget it. For my part, I like to teach… And, I like people to have fun.” Pedro González
History And Evolution Of The Academy Dance
One night at the end of the 90s, Pedro along with his friend Milan (Medical and Countryman) began to remember the Dance of the Casino in La Giralda (old venue to listen to live music and enjoy various drinks on the Boulevard de Sábana Grande – Caracas) after his customary presentation with the Latino Son group.
Both began to stand out on the dance floor with the genre of La Timba and for a way of dancing Salsa different from the one practiced in Venezuela. “We began to dance with two Venezuelan girls in the Rueda style (which was not a Rueda because there must be 3 couples)… I began to say Milan “Give me one”, “Plugin”, “The Hat”, and we began to dance the Casino Style”. Pedro “El Cubano” told us between laughs during the interview.
The two ladies were so impressed by that way of dancing that they did not hesitate for a moment to ask Pedro for dance lessons. After so much insistence, “El Cubano” agreed for the first time to give Salsa Casino classes in the capital of Venezuela in an improvised and reduced space with his first five couples. “I am from the Cerro municipality, which is the closest to Old Havana. I used to go to Playa (Municipality of Havana) a lot to dance and I learned many dances and turns…”
And so Salsa Casino began spontaneously in 1999. By the following year (2000), Pedro had 20 couples and a larger room to teach.
The evolution of him in his rise during this year was impressive. Due to the influx of students, he began to teach in the blue auditorium of the Faculty of Economic and Social Sciences (Faces) of the most prestigious University in the country, the Central University of Venezuela (UCV) through Reinaldo Mijares, Director, and choreographer of the contemporary dance “Mudanza” attached to this institution and where González assures that this movement grows.
From there, he gave way to the Casa Monagas club, a place located in the Las Acacias sector (west of Caracas) behind the UCV with the capacity to hold up to 1,000 people. Here, Pedro’s students had more space to rehearse, and Salsa Casino Parties began to be organized monthly.
With this overwhelming success, the creation of the Academia Salsa Casino in Caracas was imminent. It had massive attendance, national impact with graduate students, and attendance at national and international festivals such as Curacao Salsa Tour, Festivals in Cuba, and an amazing show at the Amador Bendayán Theater.
With more than 20 years of teaching Salsa lessons, Pedro has graduated more than 2000 students and changed its name to Academia Pedro González. It currently has five locations: Sábana Grande (main location), Chacaíto, San Antonio de los Altos (Los Teques), Capitolio, and El Cafetal.
The classes are aimed at children and adults. The call is open, so you can sign up without a partner and don’t worry because the essence of the Rueda remains. The estimated graduation time is three years with four basic levels, four intermediate levels, six advanced levels, you will also receive a triple casino level, two dance technique levels, and to complete the process a final choreographic exam is done.
Every dance lesson is fun because of Pedro’s ability to teach. The names of each step such as “Pégale un Cacho” are adapted to the colloquial vocabulary of the Venezuelan so that it is easy and fast to learn.
Due to Covid-19, the Pedro González Academy makes the use of the mask and antibacterial gel an essential requirement for permanence within the institution, as well as reducing the maximum number of couples per level to only ten.
At the main headquarters, there are four instructors. One of them is Vanessa Lovera, a graduate instructor from the academy. For Pedro, she has been unconditional support in difficult moments of the institution. Vanessa teaches Salsa Casino and Ballroom Dance. You can also find her at the El Cafetal headquarters, but if you prefer the main headquarters, the address is as follows: Sábana Grande Boulevard, Fénix building, 5th floor, next to the Gran Café.
For this 2022 and if there is a return to normality, the Cuban instructor and musician residing in Venezuela hopes to resume the lost spaces in Caracas such as discos, nightclubs, presentations in theaters, once again hold large Salsa Casino parties in large rooms, the return of national competitions, and the continuation of the training of instructors in person (it is only online currently).
Casino Dance Or Salsa Casino?
According to the friendly instructor Pedro González, the origin of Salsa Casino on the island of Cuba has a unique story that begins like this…
Since 1956 numerous Cuban orchestras have been registered that played very popular and contagious musical genres such as Cha Cha Cha, Guaracha, Mambo, and Son. Rhythms that invited the young inhabitants of Cuba of this time to just want to dance and have fun all night with these melodies, but they not only wanted to do it with their partners but also with those of their friends, acquaintances, and strangers. However, for this decade that was not allowed because the rules of the strict and conservative society dictated it.
In this way and with the pursuit of that goal, the gentlemen created this style of dance. A style that did not require constant practice and where partners could be exchanged using keywords such as “Plugin” to perform the movement and for the theory to be carried out perfectly without altering society. The place where this event was recorded was Casino Deportivo, a private summer vacation club located in the Miramar residential area in Havana.
“We (in Venezuela) call it Salsa Casino because it is the commercial name already used in the United States. In Europe they call it Salsa Cubana, but the original name is Baile Del Casino”. Pedro Gonzalez
That is why at the end of 1950 this style of dance began to be generated that people internationally associate with the style of gambling performed in a Casino because it is a dance in Rueda.
The popular expression of most people in Cuba every time they saw this peculiar way of dancing was to say “Ah! But you are dancing like the people of the Casino (Casino Deportivo Club)” that each day was shortening the expression until reaching the Baile Del Casino.
The peculiarity of this dance style is that it does not have a musical genre, that is, no melody that identifies it. For example, a Danzón is danced with the music of the Danzón, the same happens with the Cha Cha Cha, Mambo, Son, and Bolero. There is no rhythm called Casino, therefore this style acclaimed in the world and preferred by Cubans began with the music that existed in this glorious decade of the ’50s.