Jazz @ The Blue Note (New York)www.bluenotejazz.com/newyork/schedule Clic image to visit her website Cantante, bailarina y actriz, una artista completa con un largo caminar en el ambiente musical, nos presenta su primera produccion discografica. Sabor, tumbao y ritmo, al compas de una voz sincera llena de pasion, Michelle Brava nos Ivan Renta Absolutamente el Mejor Percusionista del Mundo Giovanni Hidalgo Graciela Perez Gutierrez
(La Primera Dama de la Cancion)
August 23, 1915
La Habana, Cuba
April 7, 2010
New York City, USA
Que Descance En Paz
Jamming with Machito
and the Celestial Afro-Cubans
Have a Jazz-E DayClick To Help HaitiList of direct links to charitable organizations
Clave Sonera Günther Brück - pianist, composer, arranger, producer Günther Brück was born in 1964 in Aachen, Germany. His musical education started at the early age of five studying the flute then guitar and organ before finally switching to piano. He earned his M.A. in music with honours majoring in jazz-piano from the “University for Music and Performing Arts”in Graz/ Austria were he is currently serving on the faculty as a professor for jazz-piano and latin ensemble for the past 17 years. In Graz he also played in musical productions at the opera House. In 1991 he entered the “International Jazz Competition“ in Mauterndorf, Austria and succeeded in winning two awards, each with a different group. In 1993 he earned his diploma with honours as a educator of jazz piano an in 2000 he earned the titel Magister Artium for his work “The Cuban Danzon“. Mr. Brück has been touring and performing throughout Europe, the U.S and Latin America with jazz greats like: Mark Murphy, Sheila Jordan, Jay Clayton, Sal Nistico, Valery Ponomarev, Michael Philip Mossman, Saban Bajramovic and the group “Jazz via Brasil”. He is activly working as a clinition in the U.S. and Latin America and After spending more than one year in Cuba studying cuban music with some of the best Cuban musicians in Havanna and Oriente he went on leading the salsa orchestra "Sin Fronteras" in Austria. From 2001 until 2003 he colaborated with the band “Cubismo“ as a piano player, composer and arranger for more than 300 performances including TV performances and recorded several CD`s. The CD “Jungle Salsa“ received 7 Porin Awards (a.o. record of the year in). His compositions are well featured on croatian TV. In 2004 Günther Brück was invited by Seth Riggs and Laurie Antonioli to perform various concerts in L.A and San Francisco. In 2008 he took part at the “ Schleswig Holstein Musikfestival“ as a soloist with Martin Grubinger and Friends. The same year he recorded the CD “Rumba para Viena“ with his own compositions and arrangements featuring some of the leaders in latin music like Luisito Quintero, Robert Quintero, Raúl Agráz, Pablo Santaélla y Nelsón Gonzalez. In february 2009 he is invited as a guest professor from the university of Tuxtla in Chiapas/ Mexico to teach and perform concerts with appearances on TV and radio.  "Rumba Para Viena" by the orchestra Clave Sonera includes seven original compositions and two tradicional Cuban themes arranged by the German born pianist, composer, arranger, and producer Günther Brück. The music does not only invite you to dance but it also shows a mix of modern salsa -respecting the roots of this music - with other musical styles like jazz, funk, and pop. You will find four Grammy Award winning musicians and one Grammy nominated musician on this recording.The solid rhythm section of congas, timbales, bongos, piano, and bass lies down the foundation for heavy swinging horn lines and mambos by the two trumpets, two trombones and baritone saxophone alternating with the vocalist's soneos. 3D Ritmo de Vida launches its second complete. CARIBE/TROPICAL CD titled QUE SIGA LA RUMBA. The album features Michael Tate and Chris Amelar with some outstanding invited guests, Herman Olivera, RickyGonzalez, Willie Torres, and Jerry Lopez.
QUE SIGA LA RUMBA is a vibrant production of 13 songs with a refreshing and original sound, presenting a blend of Salsa, Reggae,Cumbia, , Ballads and Frocuno.Drummer Michael Tate and guitarist Chris Amelar, the founding members of 3DRitmo de Vida, are not Latinos, this fact adds an extra dimension to their musical formula and gives the music a distinctive flavour. The melodies created by Michael and Chris are fluid, dynamic and contain a progressive personality,influenced by Salsa, R&B, Reggae, Soca, Gospel and other Caribbean rhythms”. “VETE”, is being released as the first Salsa single, a Contemporary Dance trackwith a taste of tradition and a spicy flavor vocalized by the young up and coming sonero, Willie Torres. This is 3D’s fourth album; featuring the sounds of Salsa,Soca, Dance Hall, Reggae, Latin Pop, Frocuno and Gospel. The band members have worked as musicians with artists such as Kid Creole and the Coconuts, JenniferLopez, Harry Belafonte, Chaka Khan, Cab Calloway, and many more, as well as recorded productions with Celine Dion, Whitney Houston and Sony Records. 3DRitmo de Vida, has appeared at the world famous BLUE NOTE in NYC and The JVC Jazz Festival. This Group performs LIVE in all shapes and sizes! With QUE SIGA LA RUMBA, 3D Ritmo de Vida, steps up their game and continues down the road with timeless melodies and infectious Riddims.
These are some of the artists playing on Latin Jam Radio Salsa with Jazz and Much More has been on the air since January, 2002. Playing hardcore New York and Puerto Rico
Salsa and Latin Jazz by the masters.
We started broadcasting from New York City and
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and beyond.
Our website is a place where you will discover all about the pioneers of Afro-Latin music, the leading exponents of Salsa and tomorrow's legends.
Feel free to browse around this site. If you have comments or questions about our website or radio program, or simply need more information and want to contact us, click on the contact button on any page within this site.Thanks for visiting and we look forward hearing from you. Latinjam Radio on My Space.com Pioneers of Salsa Chico O'Farrill
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New Videos Howard MandelA Chicago-born and New York-based writer, editor, author, arts producer for National Public Radio -- for more than 30 years, a freelance arts journalist working on newspapers, magazines and websites, appearing on television and radio, teaching at New York University and elsewhere. Eddie Palmieri sets Jazz at Lincoln Center afireEddie Palmieri, the genius and prophet of Afro-Caribbean jazz, showed Herbie Hancock, maybe Wynton Marsalis and certainly the roaring audience at Jazz at Lincoln Center's Rose Hall a thing or three last weekend. His band La Perfecta II, reconstituting the instrumentation and compositions for mambo, cha-cha and pachanga dancing Palmieri introduced in 1961, blew the lid off the joint as I've heard no other band do since it opened in 2004, establishing Latin music's clavé rhythm for all time at the core of what Marsalis likes to call "the house that swing built." Swing they did, La Perfecta, swing hard, with style, precision and vengeance much more driving, cool and fiery than anything else taken for swing today. If only the Rose Hall seats could have been pushed aside for dancing. Swing, swivel, dip, cut, twist, step, shift, glide, gesture -- faster, faster, faster -- in perfect syncopation with the polyrhythmic percussion, the riffing trombones and trumpet, the steely-plucked trés and full-bodied but sparely applied flute. Palmieri at the piano -- age 73, dapper in suit and yellow tie, busy cueing his horns, supporting his elegant yet impassioned male singers, goosing the tempo kept by his deft young bassist and veteran conga player, breaking into unpredictably funky or classical, flowing or staggered keyboard solos -- is probably the last surviving bandleader in America today who makes "swing" transcend its historic import to render big band virtuosity, intensity and density at highest speeds more immediate than tomorrow's pop. His music isn't contemporary, it's immediate, and thus timeless. He expands on an extraordinary American idiom -- check out a clip (on You Tube) from a Fania All-Stars session of Palmieri, the "Sun of Latin Music" with fellow keyboardists Larry Harlow and Papo Lucca, Johnny Pacheco playing flute and Ismael Quintana singing lead:
Born in New York's Spanish Harlem of Puerto Rican heritage, Palmieri is a 9-time Grammy winner with almost 40 albums to his credit and a gift for recognizing the best of new musical talents that rivals Ellington's, Blakey's or Miles Davis's. He came up under the wing of his keyboardist brother Charlie Palmieri, worked the Palladium theater when he was 15 and has never stopped tinkering with, adapting and advancing a tradition he's too proud of to allow it to grow old and dull. Maybe no one dances the pachanga any more, but Palmieri and his players didn't let that stop them: they rev up each chart that might be supposed a bit dusty with utter confidence that the music will rouse anyone who hears it. I had brought a class of Turkish exchange students from Bard High School/Early College, and though they weren't steeped in Afro-Caribbean or Nuyorican culture, these kids seemed as struck by the music's power as the rest of the Lincoln Center audience -- which several times erupted in cheers. There was a lot to cheer: that Palmieri was playing Jazz at Lincoln Center for the first time, that the house for the first night of two was packed; that Herbie Hancock, progressive yet sometimes too cautious or mellow, was in a front row. But it was the music itself that turned us out. Afro-Carribean jazz as Palmieri designs it is greater than the sum of its parts but make no mistake, those parts are great. Herman Olivera, the tall lead singer, was well dressed and choreographed (they all were) but his vocal improvisations conveyed urgency as well as maturity. Nelson Gonsalez, the slight, graying guitarist, seemed stoic until he whipped out a chordal solo that burst all harmonic bonds. Trombonist Jimmy Bosch and trumpeter Brian Lynch (one of Palmieri's closest collaborators) took turns topping each other with scorching, meaty solos. Flutist Karen Joseph knew her idiom thoroughly, bounding over the multiple layers of rhythmic and melodic action. The sections' synchronization was tighter than the Rockettes', though each musician exuded their own personality. And Palmieri's keyboard work, which has often seemed to me frustrated by the limits of his chops, instead was utterly accomplished. Latin jazz piano is a genre unto itself, with current wondermen including Gonzalo Rubalcaba, Chucho Valdez and Michel Camilo. What Palmieri played linked the montuno to New Orleans' rhythm 'n' blues, to Thelonious Monk, McCoy Tyner and Joe Zawinul. I heard both Ellington and Basie lead their orchestras live, but never with so much juice or juju. I hope Hancock took note. Too bad Wynton wasn't there to hear La Perfecta II, but he probably got a full report. He was preparing, no doubt, for his own concerts this week with Willie Nelson and Norah Jones. If those three could generate the heat and light provided by the Sun of Latin Music -- and I can't resist embedding the clip below of the Palmieri brothers during their Afro-Latin funk phase, circa 1972 -- they would put an end to any questions about the health and future of jazz. You Tube Clip Joe Cuba, the soul of Spanish Harlem, 1931-2009BY Willie Colón Everybody talks about Tito Puente, Eddie Palmieri, Ricardo Ray or the work that I did with Héctor LaVoe. But there was a small group in Spanish Harlem that wasn’t recognized for grand musicianship but for their flavor and nasty swing.Born Gilberto Miguel Calderón in 1931 in New York, he changed his name at age 23 to Joe Cuba per his manager’s recommendation.The Joe Cuba Sextet was six cats that would seriously rock your world. These brothers were from the hood, they had attitude, aptitude and a deadly swing. In Puerto Rico, in this category of Boricua street music you had Rafael Cortijo; in New York you had Joe Cuba. The Joe Cuba Sextet with monsters like Cheo Feliciano and Jimmy Sabater as members presented a unique modern musical proposition that many tried to imitate without success.Joe’s group would seamlessly weave between cultures; they would sing some very hip jams in English and then turn around and do the next cut in impeccable Spanish. In either language the songs were smart, funny and sometimes social-political.Joe had the good fortune to have people like Feliciano and Sabater around to execute those excellent songs. He introduced songs by the great Puerto Rican composer Tite Curet to my generation. The combination of slick arrangements, powerful lyrics, and great conscientious performers gave this little sextet an undeniable authority. Others might be formidable technicians with excellent bands but they came up short to the organic, animal, triple threat that was the Joe Cuba Sextet.Like I said, these boys were from the hood, not cultural tourists gushing academic experiments and formulas. They truly owned the joy and pain of living during those hard times.In 1962, Joe recorded the bolero "To Be With You" in English with Sabater on the vocals. This song became part of the fabric of the civil rights movement; it united Latinos and African Americans.We would all party together wherever Joe was playing. But more importantly for Nuyoricans, who were caught in the middle of an identity crisis, he opened a door to their Puerto Rican roots.Joe lit the fuse with his hybrid rhythms and concepts like "El Pito," "Bang Bang" and other hits that were played all over the country on American stations. He inspired many young Latinos to come into the Latin music arena. Many of these might not have made the leap if it weren’t for Joe.Thank you Sonny — Joe’s nickname — for diverting my attention to the important things in life and giving me hope and dreams.I was one of those youths that would devour a Joe LP when it came out; from the music to the artwork to the credits. The last time I saw Sonny was in June 2003 when Mayor Bloomberg recognized him at Gracie Mansion ceremony proclaiming Joe Cuba Day. He played for us that day.Sonny was an intelligent, everyday Joe who understood his people. He didn’t put on airs and had no initials after his name, just a killer swing, a sense of humor and lots of heart. That’s why he was and always will be the soul of Latin Harlem, "El Alma de El Barrio." http://williecolon.com/news/
Condolences can be sent directly to Joe Cuba's widow: Maria Calderon @
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