Search Results for: tropical

The singer and songwriter of Puerto Rican descent, Luis Figueroa, is one of Sony Music’s most recent acquisitions. Most recently… La Luz is now available on all digital platforms. Listen to it HERE.

He is not new to the music scene. He brings experience from other sounds and has been nominated twice for a Latin Grammy. For Luis Figueroa, the recently signed Sony Music talent, success in the salsa sound is already assured.

Proof of this is that he has already performed on the most important salsa stage in the world, during the 39th edition of the National Salsa Day at the Hiram Bithorn Stadium in San Juan, Puerto Rico.  The salsa public is betting on him, and Sony Music seems to know it.

He says he has not come to the salsa scene to change anything. He claims “to have come to make a new chapter in what salsa is and to leave my essence within what inspired me and motivated me to be a salsa artist…Learning from the pioneers, who also had resistance in their time. In spite of that, salsa erotica and salsa romántica came to stay.”

He started early on and decided to combine his academic and artistic work. From his academic application, he approached music as a business, which is very encouraging for the tropical genres.

Luis confesses that it was always clear to him that he “was not going to be just another one of the horrendous stories that have been heard about the contractual environment”.

For the singer and composer it was “extremely important to know the business side of the music business, to know the contractual aspect and to protect my copyrights”.

Luis is an artist with his sights set high and his feet on the ground.  He is a humanistic and transparent person, allowing the positive in every story to prevail. He has been very judicious in applying the advice that more experienced artists offer him in good faith.

He recalls that when he was barely eight or nine years old, Gilberto Santa Rosa told him, “you have to keep studying because we are tired of brute singers, you know?” Luis took that statement almost as an instruction.  Eventually, he managed to get accepted into Berklee College of Music, from where he graduated with a concentration in Song Writing and Music Business.

As soon as he finished college, the invitations and requests from different producers began.

He came to Sony Music through Magnus with Marc Anthony’s endorsement, but he was polishing his songwriting skills with the band Magic. He says he was not fluent in Spanish at the time. However, his mother always instilled in him the obligation he owed to himself to keep his mother tongue, Spanish, alive.

Although he learned the structure and mechanics of songwriting in Los Angeles trying to keep the focus on both languages, he didn’t feel the confidence with Spanish that he had with English.

Nevertheless, his development as a songwriter flowed. Before signing with Sony Music, in 2018, he had the opportunity to position a single with Sebastian Yatra, spreading nothing more and nothing less than the urban pop hit, Por perro, which is from his audit.

Today he reflects and understands that Por perro opened doors for him as a composer in both the American and Latin markets. Por perro has accumulated over 654 million views on YouTube and reached #16 on Billboard’s Latin Pop Songs chart. In addition, RIAA® certified it 4X-Platinum. And, the video went on to be nominated for Video of the Year at the 2019 HTV Heat Awards. Luis presented this single during Romeo Santos’ Golden Tour in stadiums throughout Latin America to sold-out crowds.

Says the artist, “We came to Sony at a time when we were not signed as a salsa artist. We were still finding our style, we wanted to go more on the urban pop side. We did songs for Janis and Sebastián Yatra and Manuel Turizo. I think from sharing with different songwriters on the Latin side I was able to develop more with my ideas and now I have the ability to be able to compose songs completely my own. It took me about four or five years to be able to generate that confidence to compose and to have the audacity to expose my inspiration.”

For Luis it was surprising that his interpretation of Hasta el sol de hoy was so well received.  For a moment he thought he was going to hear something like: “you’re crazy, like this is not what we want you to do”, but it was precisely that song one of the bases of the bridge that managed to unite the urban aspect to salsa.

With that hit, which is already a salsa classic, Luis Figueroa made the transition that turned him into a trend. With that song he continued to be known and received massive support. With that song he gained more confidence, not only in the compositions he was creating, but also strengthened his career within the salsa sound. Luis has nourished himself from other genres, refreshing and enriching salsa.

Salsa fans have long been calling for new injections of talent and suggesting new nuances. Luis seems to have picked up on those ideas, sharing new energy gained from his time in bachata, urban, romantic and pop.

I also find it fascinating that this recent salsa convert has made the long-awaited crossover from Spanish to English in reverse; that is, the innovative route from English to Spanish.  That reverse crossover gave Luis a clear understanding of the artistic route he is passionate about and which seems to be one in a continual evolutionary process.

Maybe that is the key, what made him one of the fastest growing exponents of salsa, of the so-called new generation.  He attributes this growth to the audacity to continue creating, which in turn has strengthened his roots in what he does: music. He reflects and affirms that: “seeing my friends take songs of mine, seeing them grow and seeing them be so successful gave me confidence in my pencil, as a composer on the Latin side, although it took me a while. Initially, I took the easy route; doing covers and interpretations of different songs, but I set out to focus on composing and I succeeded.

Before salsa it was bachata. The Caribbean rhythm was all around it.  When he was working with Romeo Santos, his life was all bachata. “I was living, sleeping, singing and speaking in the language of bachata music that inspired me a lot. That’s where my compositions began to stand out, while I was doing backing vocals for Romeo Santos and Juan Luis Guerra on certain songs. It was in that environment that he came into contact with my interpretation.”

However, his greatest inspiration is Jerry Rivera and he considers himself fortunate to have many mentors and several godfathers in salsa, including Johnny Rivera, whom he thanks for lending him a hand and his collaboration in various projects.

Artists such as Tito Allen, Marc Anthony’s musical director Angel Fernandez, Johnny Rivera and Ray Sepulveda have all been supportive. Songs like the one catapulted by the eternal daddy of salsa, Frankie Ruiz, Esta cobardía, and Borinquen -from the pen of Johnny Ortiz- in voice of Yolanda Rivera managed to tattoo themselves in his musical formation.

Two of the aforementioned referents, Tito Allen and Yolanda Rivera were performing on the same stage of the 39th edition of the National Zalsa Day, which was given by Luis Figueroa. For his part, the famous Borinquen composer, Johnny Ortiz, witnessed the great concert accompanied by his most loyal fans in the front row.

Other composers who have influenced Luis are: “The composer of Hasta el sol de hoy – Gustavo Márquez – and Omar Alfano, with whom I had the opportunity to share the stage in Panama when I went to share the stage with great musicians, opening a Marc Anthony concert”.

Luis says he doesn’t mind having the same blueprint of all the others who came before him, and adds: “if you see all my songs, they have to be four or five pregones. The songs from the times before were six minutes, five interludes, they were eight minutes long.” He says he has taken the basic structure to merge it with the modern one on the urban side of salsa. He assures to have adapted because the times require agility in the processes. Having refreshed the salsa scene is one of his great achievements, and by leaps and bounds, hand in hand with Sony Music Luis Figueroa reached the National Salsa Day, the most important salsa stage in the world.

Luis made it to the finish line. Of course, he can’t afford to relax his spirits in this competitive environment.  Nor can he afford to listen to criticism from detractors. His innovative spirit and the freshness of his pen make this salsa singer one of infinite possibilities and a forceful pace. From my corner, I will be supporting him, not only because of the clarity of what he is doing.

The public that follows salsa will support it because we all need salsa to do well. The coalition that we call salsa is now one of action and not complaints, because there is no Musical Productions, because there is no Fania, because everything has been changing, and now that the record companies have reduced their footprint, I affirm as a researcher, that there is nothing more true than the saying: “Nobody knows what he has until he loses it”.

I know that Luis is prepared for what is coming, and more. I know that he will continue to move forward like the snowball that continues to grow and as it moves, it becomes unstoppable. He has already reached the stage of the National Zalsa Day.  He is no longer an emerging artist, nor a new artist.  He arrived at the plaza by way of triumph.  Luis Figueroa is a fully-fledged salsa artist. What remains is for him to continue.

What’s next… For those who continue his unstoppable rise, the question is: What’s next? Luis Figueroa arrives with the album, Voy a ti, which includes the single, Bandido. We’ll keep an eye out for the release of what is sure to be another hit.

Chronology of an evolving salsero:

Awarded at the 2016 Premios Juventud for his version of Flor Pálida, performing with Marc Anthony.

In mid-2017, after being discovered through several videos uploaded on his YouTube page, Luis signed with Magnus Media, Marc Anthony’s entertainment company. His performance of Flor Pálida won him a Premio Juventud for Best Video Cover.

Combining his musical and acting abilities, Luis had a featured role in Telemundo’s acclaimed television series Guerra de idols. Along with Pedro Capó and Christian Pagan, he performed the series’ theme song, Tequila pa’la razón, presenting it live at the Billboard Latin Music Awards, 2017.

In 2018, he accompanied Romeo Santos as a vocalist on three of his international tours, including the world tour, Golden.

In 2019, he released his first single for Sony Music Latin, La Especialista, which reached #27 on the Billboard Latin Pop Airplay chart, remaining for 8 weeks, and the pre-release single from his debut album, Te Deseo, reached #24 on the Latin Pop Airplay chart, remaining 11 weeks on Billboard. La Especialista, boldly combines acoustic guitars and melodies that complement her voice.

Pandora named Luis to its Latin Artists to Watch 2020 music discovery playlist. That same year, Luis made Billboard’s list that consolidated 17 male Latin artists to be discovered during the forties. He was also named one of Billboard’s fastest rising Latin artists.

In July 2021 Luis scored his first #1 on Billboard with Hasta El Sol De Hoy, a track that also reached the top of the Mediabase and LATIN monitor charts. His follow-up single Si Tú Me Dices Ven became his second Top 10 hit, while Billboard chose Luis as part of its Latin Artist on the Rise series. Also in 2021, he was nominated for Best Pop Artist at the HTV Heat Latin Music Awards.

In 2022, Luis released his first salsa album. The production generated three consecutive Top 10 hits on the Billboard Tropical Airplay chart and earned him his first Latin GRAMMY Award nominations for “Best Salsa Album” and “Best Tropical Song”.

The album – self-titled Luis Figueroa – solidified his status as one of the salsa genre’s leading voices and rising stars. Luis was nominated for his first Premios Lo Nuestro in 2022 for Tropical Artist of the Year and Tropical Song of the Year for Hasta El Sol De Hoy.

Luis Figueroa has had a good year in 2023. In January he topped the Media Base – Tropical chart with his Latin GRAMMY® nominated song Fiesta Contigo, and was also nominated for three Premios Lo Nuestro Awards in the Tropical – Artist of the Year, Tropical – Song of the Year and Tropical – Album of the Year categories.

By: Bella Martinez

bellamartínezescribe.com

 

Bella Martínez
Writer, Researcher in Afro-Caribbean music.

 

 

Read Also:  «Mambo Night in Miami Beach» celebra el centenario del natalicio de «El Inolvidable», nuestro Tito Rodríguez.

The Dominican trombonist was part of Las Estrellas de Fania and stood out for his virtuosity on his instrument, as commented by musicians Joe de Jesús and Willie Álvarez.

Leopoldo Pineda, “Palma Sola” was born on May 8, 1939 in a small batey called Palma Sola, in Barahona, southern province, Dominican Republic.

He passed away on June 27, 2019 in New York City. Due to his solvency on the instrument, Leopoldo was a participant in hundreds of salsa recordings for more than three decades.

At 80 years of age, Leopoldo Pineda, the Dominican trombonist who earned the respect of his colleagues in the most courageous years of salsa, has passed away.

A case of diabetes had undermined his health in recent years and the fatal outcome came on Thursday, June 27 in New York City.

In recent years, Pineda had been retired from musical activity, due to health problems and diabetes.

He began at a very young age to seek out musical instruments. In his hometown, Pineda would often visit a neighbor’s house to watch him rehearse different instruments.

There he began his first lessons, learning to play trumpet and tambora.

He studied music at school for compulsory education and there he developed certain tropical rhythms.

In Barahona, there was a music school where Leopoldo graduated and later, because of his talent, he was referred to the National Conservatory of Music in Santo Domingo.

As he grew in knowledge, musically speaking, he learned to play several instruments, among them, the Saxophone and the Trombone, the latter being his weapon of choice for the rest of his life.

In his native Barahona, he was known as “Chanchito”, but it was at the Conservatory where the nickname “Palma Sola” was born, identifying him to his classmates by the name of the town where he was born.

After participating in various groups in the Republic, Leopoldo went to New York City and there he started playing with Tito Rodriguez’s orchestra in the 60’s.

He also recorded with Los Cachimbimbitos and Los Cachimbales.

He also recorded with Ismael Rivera’s Los Cachimbos and was producer of one of Milly Quesada’s first albums.

Musician Jimmy Bosch used to include Leopoldo Pineda in the select group of trombonists from whom he learned. Willie Colón, el Malo del Bronx, had emotional words for don Leo. Indeed, the Dominican Pineda is part of the glorious history of the best salsa, the one that was born in the neighborhood and that has deeply penetrated in this part of South America.

Alfredo de la Fe posted on his Facebook account: “Leopoldo Pineda, great musician, we played together with Típica 73 and Fania All Stars.

Then he began to walk the best paths of Salsa, being part of orchestras such as Típica 73, Orquesta Harlow, Willie Colón, Fania All Stars, Sar All Stars, Jose Mangual Jr, La Conquistadora, Jose Alberto “El Canario”, Rubén Blades, Orlando Watussi, Laba Sosseh, Monguito El Único and Héctor Lavoe, among others.

Fania Records

Read Also: Orestes Vilató is one of the most influential figures in the world of Latin percussion.

One of the greatest Venezuelan arrangers that Venezuela’s tropical music could have had passed away on May 5, 1979, 44 years without Stelio Bosch Cabrujas.

Bosch Cabrujas was the arranger and assistant director of both Billos and Los Melódicos and was the architect of the success of both orchestras in the 60’s and 70’s.

A remarkable musician, but completely forgotten by the new generations.

Stelio deserves to have his place of honor in the tropical music of the Caribbean. Stelio, a native of the State of Bolivar, from a very young age, entered the musical field as a musician and arranger.

His musical beginnings date back to the 40’s, when he performed “Campesino” for the then Billo’s, where he was recorded by Victor Perez.

Stelio’s musical baggage at the beginning was as a tres player for La Sonora Caracas, he worked with Pedro J. Belisario’s orchestra in the 50’s. He arranged a lot for the radio programs in the musical shows that they presented under the auspices of various commercial brands.

History of Sonora Caracas

Surrounded by an aura of mystery, elusive discography, and a special attraction as a pioneer of the son groups in Caracas. For a long time it was the musical platform for many local tours and recordings of Caribbean music luminaries, when they visited us in the golden age of radio and incipient television. Backed by more than a hundred immortal recordings, ranging from some of the first acetate recordings of Celia Cruz, to Daniel Santos and his theme forbidden by the always conservative Catholic Church.

Contrary to what some critics thought at the time, it was not a bad copy of its namesake matancera, they began under the structure of a septet, and later in their golden age they abstained from using the nasal choirs, they managed a structure of three trumpets, a clear hammer of the bongo accompanied by the congas, in a group with its own personality and that served as a school for some of the most important orchestra directors of the coming decades in our country.

The first Sonora Caracas

In September 1933, our capital was musically shaken by the visit of the Trio Matamoros, famous movie and record stars, who during their twenty continuous days at the prestigious Teatro Ayacucho, stirred up a bucolic Caracas with their sones and boleros, and when they traveled to the west of our country1, they sowed the seeds of the first son groups in Venezuela.

He was in the quintet Los Modernos, who on several occasions accompanied Felipe Pirela on TV. He was the pianist.

He worked for Los Guaracheros de Manolo (when he left Billo’s) and also worked with the Orquesta Sans Sousi.

He worked for a short time in Carlos Guerra’s orchestra and from there he made the leap to Renato Capriles’ Melodicos, recommended by Freddy Coronado when he was the director of LM.

When Coronado left the direction of LM, Stelio took over the musical direction and catapulted them to the fat and unequaled sound of lm in the 60’s, which represented a sonority like few others.

When Stelio left lm, Manolo Monterrey’s orchestra joined the harmonies, and he suggested to Manolo that he return to lm, which the Antillean cyclone accepted and returned triumphantly to Renato’s organization.

At the beginning of the 70’s Stelio goes to work with the most popular band in Venezuela and there Stelio’s arrangement work gives another big hit, his contribution is immense and Billo’s goes on to live one of the greatest decades that Billo Frómeta’s group has ever had.

The contribution of Stelio Bosch Cabrujas to tropical music is worthy of study and review, to be included in university courses so that the new generations of arrangers and musicians understand the legacy of a musician who is threatened to be forgotten, it is up to us to make sure that this does not happen and it is mandatory to keep his memory alive.

Sources:

Newspaper library of the popular music of Venezuela.

Gherson Maldonado

Iliana Capriles (Oficial)

Read Also: Renato Capriles, the man who imposed the rhythm with “Los Melodicos”