1) When and how did Cache form?

After playing with Vibrason, led by me, for about 4 years. A replica of the Joe Cuba Sextet which was a format that did not include horn but had an exceptional chemistry with a lot of soul. These ingredients were key player for us to be able to write our own music and so, Caché was formed in 2001. Our Debut performance was at the legendary Bamboo Club on Queen And Spadina.

2) How long have you been playing together?

With Caché, with have been playing together for 10 years. As musicians some of us have been playing with various bands for 20 years.

3) What are your thoughts about the Toronto salsa scene?

I believe we have come a long way musically and now that salsa is more recognized and accepted we still lack a larger market and venues for live performances, if we were to compare it with New York with a population over18 million and a good percentage of that being Spanish speaking where the roots and percussion rhythms are instilled from an early age.

4) Can you describe your style of music?

Our style of music is a blend between vintage and new. It is not new and it is not old. We are not trying to be salsa from New York, salsa from Puerto Rico, salsa from Colombia or Cuban. We are inspired and we have been brought up listening to the old school salsa and Caribbean rhythms. Bands nowadays have become too technical. We do not want to copy or duplicate, we want to bring back what has been lost from vintage salsa and at the same time update it with our own heart and soul. This is why we like to call it Canadian Salsa.

5) What musicians have inspired you?

Musicians that have inspired me are, Papo Luca, Tito Puente, Noro Morales, and Willie Rosario just to name a few.

6) We are excited to hear about your new CD. Can you tell us a bit about the new CD and how it differs from your past two CDs?

We are very happy with the new release, “Looking from the Top” which will soon become available on iTunes just like are 2 previous CDs. You will be able to see how we have grown not only as musicians but as writers. There is not much difference as we like to maintain our trademark, so when a Caché fan hears our music they will be able to identify the sound or rhythm as a ‘Caché’ song.

7) Where can we purchase your CDs and songs?

Our CDs and songs are available in iTunes. Or you can always place an order by sending an email to wmacevedo@sympatico.ca and pay by paypal.

8) Do you have any upcoming performances that we can check out?

We will be at Lula Lounge on February 25

9) What are the band’s plans for the next year or two?

Our plans for the next year is to hopefully tour across Canada and the States as well as to get more involved with Salsa Congresses.

***********

For more information on Caché’s new CD please email Wilson at wmacevedo@sympatico.ca.  Their new songs should be available on iTunes shortly so enjoy!

The post My Interview with Wilson Acevedo from Caché appeared first on Toronto Dance Salsa.

“FOR IMMEDIATE RELEASE

Contact: Isaac Altman, President

LEGENDARY AFRO-CUBAN MUSICIAN LARRY HARLOW TO APPEAR IN CONCERT AT THE 7th ANNUAL WSF WORLD SALSA CHAMPIONSHIPS IN MIAMI

On behalf of the Board of Directors of the World Salsa Federation, Inc., we would like to welcome everyone to the 7th Annual WSF World Professional Salsa Championships and the All-Star Dancesport Championships to be held in Miami at the Miccosukee Resort and Gaming, November 7th and 8th, 2008.

Over 2 days, competitors from around the World will have an opportunity to be World Champions in their Salsa style and category, and then go head to head for the title of Undisputed World Professional Salsa Champions. The Undisputed World Professional Salsa Champions will represent the best of Salsa competitive dancing, and will represent the WSF world-wide. Also included this year will be the World Junior and Youth Salsa Championships. The youth come to this event with unsurpassed energy and enthusiasm. Come watch them compete as these young people will be our future Salsa Stars!! Also that weekend the WSF will hold its All-Star DanceSport Championships bringing the ever popular Ballroom Dancing to Miami in its most competitive form. Competition ranges from ages 4 through adults and beginners through advanced levels.

Salsa music legend and renowned Latin-style pianist Larry Harlow comes to the Miccosukee Resort and Gaming Grand Ballroom for a special performance on Saturday, November 8th, 2008 . Playing with Larry Harlow will be his Latin Legends Band offering a night of hot salsa rhythms to dance to. Larry Harlow, one of the original members of the most famous Salsa band ever, the Fania All-Stars, will be in concert for one night only. This will be his only Florida appearance before receiving the Lifetime Achievement Award one week later at the 2008 Latin Grammy Awards. General admission tickets for Saturday Night are $20 and reserve tables of 10 are $250. Ticket purchases can be made by calling 786-566-2604 or online at www.wsf.cc/saturday_evening_ticket.html

Larry Harlow is recognized by many as a revolutionary of the Latin music known today as “Salsa.” His influence in the early 70s developed the explosive trumpet and trombone sounds now familiar in contemporary salsa bands. Harlow is a graduate of the prestigious New York High School of Music and Art and holds a BA in Music from Brooklyn College and a Masters in Philosophy from the New School of Social Research in New York City . He is a gifted player of the oboe, flute, violin, bass, and, most notably, the piano. He is a three-time Grammy nominee and was inducted into the International Latin Music Hall of Fame on April 5, 2000 .

Latin musicians around the world enjoy greater recognition and rewards due to Mr. Harlow’s pioneering efforts as a Governor of the New York chapter of the National Academy of Recording Arts and Sciences. There, Harlow helped to establish the first Latin Grammy Award. There are now 12 different Latin categories in the Grammy’s, as well as the exclusive Latin Grammy Awards.

WWW.WORLDSALSAFEDERATION.COM

WSFSALSA@YAHOO.COM “

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“Feature-Length movie filmed in Greenville, SC premieres Friday, Aug 29

Submitted by Lynne Anne Merrill • August 11, 2008

August 29, Friday, an EXTRAORDINARY experience will take place in Greenville, SC EXCLUSIVELY at Bongos Nightclub! Latin dancers of Mambo, Salsa, and the general public are invited to come WATCH the movie showing of “La Epoca – The Palladium Era” – a film about the roots behind the umbrella term “Salsa,” and its affects on the generations of musicians and dancers that have followed since its conception. Come and sit side-by-side with some of the film’s cast members – and meet, up close and personal – the producers of the film! The film uncovers who the inventor of the mambo rhythm was and how Latin music and dance have become what they are, today.
Advertisement

This movie is jammed-packed with Latin dancing, original Latin music, black and white footage of the Palladium-era during the 1950’s and AMAZING information!!

“La Epoca,” a feature-length documentary-film, is about the evolution of Latin music and dance from the Palladium-era (1948-1970) to present day. The film covers in-depth detail regarding the controversy over dancing “on 1” versus dancing “on 2,” Mambo versus Salsa, and the film focuses heavily on the controversy over the the umbrella term “Salsa” and its affects on the musicians and dancers since the conception of the word’s use to describe Latin music.

The film features music and rhythms that are very rarely heard in present day. Producers welcome all walks of life to view the movie and to live INSIDE the memories and experiences of the high-profile LEGENDARY musicians and dancers who appear in the film, such as “Cuban Pete,” Charlie Rodriguez and Agustin Caraballoso and many others.

Very well-known are the names of Celia Cruz and Tito Puente – but how many times have you heard of the musicians who made THEM sound so good?

What makes this evening SO special is that a portion of the movie was ACTUALLY FILMED AT this SAME location earlier this year – and many of the dancers who were filmed – do appear in the movie – and some will be present to watch the movie! Greenville residents Erica Roldan, Mariana Rodon and Jonathan Zapata were among those filmed at Bongos in May this year for this very film.

Watch and listen to the musicians who were among the legends that USHERED IN all of the Latin music and rhythms that, in present day, have been meshed together – all under one umbrella term: “Salsa.””

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Here is some info about Luis Mario Ochoa and Cimarron who will be performing that night – hope to see you all there!

“Well known for leading a wide variety of big bands and latin jazz ensembles, for the Cuban Friday series, arranger and composer Luis Mario Ochoa has gathered a killer line up of Toronto based Cuban musicians to perform a repertoire of old school salsa music dedicated to the dancer.

Featuring Alexis Baro on trumpet, Luis Eniz on alto sax, John Johnson on tenor sax, Chris Butcher on trombone, David Virelles on piano, Yoser Rodriguez on bass, Alberto Suarez on timable, Luis Orbegoso on congas bandleader Luis Mario Ochoa on lead vocals, Cimarron will combine the foundation rhythms of Cuban son, salsa and cha cha with the New Yorkino classic salsa sounds of the 70’s.

Born, raised and educated in Havana, Cuba, Luis Mario Ochoa is a singer, composer, arranger and bandleader. In 1992 Luis Mario founded the group CIMARRÓN, named for its distinctive Afro-Cuban roots. Cimarrón, meaning wild and untamed, was the word used by the masters when referring to their runaway slaves in colonial Cuba.”

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Well it turns out someone read his blog and has offered to convert Doug into a musical marvel – all over the medium of email/internet. Check out The Unlikely Salsero. Don learned to dance salsa at age 40 but has been a musician since childhood and teaches instructors about musicality. He took on the challenge of teaching Doug about salsa music.

I think this is wonderful. I am curious to see how Doug progresses in his learning. If any of my students want to follow Don’s exercises, it would be great – we can keep track on this blog and follow your progression too !

Let me know how it goes and I will keep you posted on Doug’s progress.

Good luck Doug and Don!!

The post Musicality – an interesting find! appeared first on Toronto Dance Salsa.

Below is their bio for anyone interested in learning about this new band…

“Those who witnessed up close and personal the “Salsa Explosion of the 1970’s” in New York City and Puerto Rico remember and agree that the majority of the musicians and bandleaders were mostly youngsters.

Now, inspired by the masters of salsa is the new group from New York City that goes by the name of “La Excelencia.” Percussionists Jose Vazquez-Cofresi and Julian Silva formed the band, featuring a young ensemble that would appeal to their generation, while performing and creating “salsa dura” (hardcore salsa) with a positive social message.

This debut CD “Salsa Con Conciencia” (salsa with a conscience) delivers 10 original scores, showcasing the versatility and depth of the band. The tracks swing with beautiful harmonies and powerful arrangements of free-flowing horns and lively percussions.

Lead vocalists Rene Leslie and Edwin Perez command the spotlight with arresting readings full of social messages that enlighten the listeners to everyday situations in peoples’ lives.

Tasty choruses complete each track, delivering high-octane rhythms, without losing essence and true roots of salsa. These young-bloods are the real thing. -Rudolph Mangual (Latin Beat Magazine)”

Let us know if you have discovered any new salsa bands and we will be sure to check them out!

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Reshma Ramjattan, a regular guest writer for my blog, went to see Feel the Noise this weekend and has written a review for you all to check out. I also went to see the movie over the weekend – my review is definitely different so I will write my thoughts tomorrow and allow you to see a couple of different reviews of the movie.

Enjoy!

Feel the Noise Review by Reshma Ramjattan

“Hey everyone,

I hope you had a great Thanksgiving long weekend. I had a chance to check out Feel The Noise on Monday and it was really good.

Jennifer Lopez produced it and Omarion from the R&B group B2K is one of the main stars. The movie is about the rise of reggaeton music in today’s society and its Puerto Rican roots. Omarion’s character Rob is an aspiring hip-hop artist and he moves from New York to San Juan to live with his estranged father. There he meets his half brother Javi, who is an online DJ. Javi introduces Rob to reggaeton and takes him out to a few clubs. Rob hadn’t heard of this type of music before because all he had known was hip-hop, being from the streets. Rob immediately falls in love with the music and he and Javi decide to collaborate their individual music styles and talent to hopefully get signed to a record deal. Along the way Rob meets Javi’s friend C.C., an aspiring dancer, and they all help each other follow their own paths and believe in their dreams.

The thing I loved most about this movie was the dancing and the music. The club scenes made me want to go dancing right after the movie was done. I went to see it with my cousin and we were both dancing in our seats the whole time. I’ve always loved reggaeton, but I didn’t realize how popular it was. After seeing this movie, I saw just how big of a sensation it is, not just in Puerto Rico but everywhere. And the nice thing about this genre of music is that, like salsa, you don’t have to be Latin or speak Spanish to appreciate and enjoy it. It’s all about the rhythm and how it makes you feel.

The one thing I didn’t like about this movie was that, at the beginning, it seemed a lot like other dance movies I had seen before. An underprivileged kid from the ghetto is an aspiring musician looking to be a big star; he/she gets into trouble and someone rescues them and they turn their life around etc. But I quickly realized that this movie was different; it was really about the love and passion for the music and how it impacts peoples’ lives.

The thing I love about music is that it unifies mankind. No matter what race, religion or age you are and regardless of where you come from, everyone can enjoy the same music and dance to the same song. I think that was the biggest message in the movie. At the beginning, Rob didn’t know anything outside of his own surroundings in NY. All he knew was hip-hop. But by the end of the movie, he had found a new love for reggaeton although he didn’t speak a word of Spanish.

I definitely think Feel The Noise is worth checking out and I know you’ll find yourself dancing during the movie. I really liked it and I think you will too.”

The post Reshma’s Review of Feel the Noise appeared first on Toronto Dance Salsa.

If you had a chance to see El Cantante you would have seen Willie highlighted in the movie. Many thought he wasn’t given the proper credit for his amazing talent and his part in bringing salsa to mass popularity. Check out the his impressive bio below to get to know this artist a little better. It was sent to me by Sylvia Rodriguez, one of the promoters for the event. For more information on the concert please call: 416-605-1281/416-567-2835 or check out their website at www.cocolatino.ca. Prices range from $45-$100 per ticket.

“Willie Colon Biography
Career, Biography, Famous Works, and Award

New York-born musician Willie Colon has had enormous influence on contemporary Latin jazz. One of the pioneers of salsa, in the early 1970s he worked with legendary Puerto Rican singer Hector Lavoe (who died of AIDS in the late 1980s) to create this distinctive rhythm-charged blend of traditional Cuban dance music with the American big band sound. Strongly influenced by the forceful style of trombonists Barry Rogers and Jose Rodrigues (both of the Eddie Palmieri orchestra), Colon is also credited with being the first bandleader to put only trombones in the band’s front line. He has collaborated extensively with other leading Latin musical artists, most notably Ruben Blades and Celia Cruz. Although he has remained active on the Latin music scene, Colon has become increasingly involved in politics, running unsuccessfully for the Democratic nomination in New York’s 17th District to win a congressional seat in 1994, and in 2001 for public advocate of New York City. He also spent close to a year playing a recurring character in one of Mexico’s most popular telenovelas(soap operas).

Colon was born William Anthony Colon Roman on April 28, 1950, in the Bronx, New York, the grandson of Puerto Rican immigrants. His early interest in music was nurtured by his grandmother, Antonia, who sang Puerto Rican folk songs to lull him to sleep. Colon also traced his devotion to his cultural and ethnic roots to his grandmother’s accounts of family life in Puerto Rico, as well as her strong beliefs and personality. When he was 12 years old, Colon began studying the trumpet and within a short time had put together a band; he switched from trumpet to trombone soon afterward. The teenaged Colon and his band were discovered in 1967 by Al Santiago, the late founder of Alegre Records; Santiago produced Colon’s first recording session.

Unfortunately, Santiago’s new record label, Futura, on which he had hoped to launch Colon and company, folded before the deal could be done. However, waiting in the wings was renowned bandleader Johnny Pacheco, also in search of new talent for his foundling label, Fania. Pacheco, however, was less than impressed with the lead singer for Colon’s band and quickly recommended a replacement–Hector Lavoe.
At the outset Lavoe was less than enthused about working with Colon but wanted so desperately to be recorded that he accepted the offer. Their first collaboration, a 1967 album entitled El malo, was panned by the critics, who objected to the recording’s raw, amateurish sound. This did nothing, however, to dissuade the record-buying public, which found the raunchy new sound appealing despite its technical flaws. In time, Colon’s band, most of whose members were teenagers like Colon himself–including future instrumental stars trombonist Joe Santiago (he later switched to bass), pianist Mark Dimond, and percussionists Pablo Rosario and Nicky Marrero–was credited with launching the “New York sound.”

Two years later Colon crossed paths with Panamanian-born singer/songwriter Ruben Blades. Each would play an important role in the other’s career in the years to come. They first met during a concert tour made by Colon’s band in support of their hit single “Che Che Cole” from the album Cosa nuestra. After playing a date in Panama City, Colon and his band members were backstage when Blades popped in to meet them. (In addition to Colon and Lavoe, the band at that time consisted of Louis Romero on timbale, Milton Cardona on congas, Jose Mangual Jr. on drums, Santi Gonzalez on bass, William Campbell on trombone, and Jose Torres on keyboards.) Taken with the band’s sound, Blades gave them a handful of his latest compositions. It would be a few years, however, before Colon and Blades collaborated on a larger scale.

In the mid-1970s Colon’s band broke up. On the surface, Colon claimed the decision was motivated by his need for a break from the pressures of touring as well as a desire to expand his musical knowledge through further study. However, insiders suggested that Lavoe’s increasing problems with addiction were a significant factor. Colon had also become increasingly involved in producing records and was planning to produce an album that blended Puerto Rican folkloric themes with some of the new influences that had caught his interest, including Brazilian music. The project reunited the former band, vocalist Lavoe, Yomo Toro, and a handful of studio musicians. For this transitional effort, entitled The Good, the Bad, and the Ugly, Colon asked Blades to contribute the vocals for “El cazanguero,” which Blades had written. At the time, Blades was in New York and working as a member of Ray Barretto’s orchestra.

In 1976 Blades left the Barretto band, and shortly afterward recorded his first album as Colon’s lead vocalist. The album, Matiendo mano, represented a breakthrough for both men. Because critics had carped that Blades’ vocal style and timbre too closely mirrored that of Cheo Feliciano, the singer worked closely with Colon to create a new singing style. On the instrumental side, Colon’s band, now fronted by four trombones, had an exciting and elegant new sound, further enhanced by the thoughtful arrangements of the late Louie Ramirez, Sonny Bravo, Luis “Perico” Ortiz, and Colon himself. The album was a resounding critical and popular success.

Following up on their success with Matiendo mano, Colon and Blades released Siembra, which became one of the biggest selling salsa albums ever released. At about this same time Colon produced a number of albums for Cuban songstress Celia Cruz (Only They Could Have Done This Albumand Celia & Willie) and Puerto Rican salsa singer Ismael Miranda (Doble energia), as well as most of the recordings of his former vocalist, Hector Lavoe. In the early 1980s, Colon and Blades teamed up again to release a two-part Latin suite entitled Maestra vida, which showcased the full spectrum of Blades’ compositions in the context of a Broadway-type musical drama. In 1981 the two collaborated on Fantasmas, on which Colon performed solo vocals, and Canciones del solar de los aburridos, which contained such hit singles as “Tiburon,” “Ligia Elena,” and “Te estan buscando.” Two years later Colon and Blades worked together again on the soundtrack of a motion picture entitled The Last Fight. It was to be their last collaboration for several years.

As their recording careers progressed, both Colon and Blades became upset and frustrated with the treatment they received from Fania record executives. They left the label, despite Blades’ remaining contractual commitment to another three albums, and Colon’s to another six. After disappointing experiences with both the RCA and Sonotone labels, however, Colon returned to Fania in the late 1980s to produce the last two albums for which he was obligated. He collaborated again with Celia Cruz on The Winners, released in 1987, and in 1988 released Top Secrets, which included his hit single, “El gran varon.” Colon also produced Hector Lavoe’s last album, Hector Lavoe Strikes Back. Despite their claims to the contrary, however, it later became clear that the relationship between the two artists had deteriorated dramatically.
Beginning in 1989 and running into the mid-1990s, Colon worked for the Sony label as both an artist and a producer, releasing three solo albums, American Color in 1990, Honra y cultura in 1991, and Hecho en Puerto Rico in 1993. Although he was increasingly discouraged by Sony’s lack of promotion for his efforts, Colon was persuaded to take part in a Sony project that reunited him with longtime collaborator Blades. That album, Tras la tormenta, released in 1995, was an artistic disappointment, largely because the tracks of each were recorded separately and later merged in the recording studio. They didn’t even get together for the album cover photo session.

In the latter half of the 1990s, Colon moved his home base to Mexico City, recording for Azteca Records there and later appearing for a time in a recurring role in the television Azteca telenovela (soap opera), Demasiado Corazon. A CD by the same name was a big success in Latin markets and was later released in the United States. Although he had chosen to live in Mexico City, Colon remained keenly interested in American political developments, and he returned frequently to the land of his birth.
In addition to their passion for music, Colon and Blades shared a profound interest in politics. In 1994, both men ran unsuccessfully for office in their respective countries. Blades fell short in his bid for the presidency of Panama, while Colon failed to win the Democratic nomination for New York’s 17th District congressional seat. Both men have used their music as a vehicle for their political philosophies. Nicaraguan dictator Anastasio Somoza banned Colon’s songs in that country in the 1970s, and Colon has been arrested a number of times in Latin American countries for his outspoken views. In 1993, after performing at President Clinton’s inaugural festivities, Colon was invited by Clinton to join the president’s Committee on the Arts and Humanities. He turned down the invitation so that he could devote his full attention to his bid for the congressional seat.

Colon reunited once again with Blades in the fall of 1998 for a smashingly successful concert at La Carlota Airport in Caracas, Venezuela–more than 140,000 tickets were sold. His political consciousness was aroused by the controversy surrounding the American military’s use of Vieques, an island off the eastern coast of Puerto Rico, for bombing practice. In 2001 Colon mounted a campaign for public advocate in New York City. In the end, he threw his support to former opponent Betsy Gotbaum, who won the job in a runoff election in October of 2001.

Away from the concert hall and political arena, Colon enjoys a quiet family life with his wife Julia and their four sons. Among his interests are flying and computer programming. His contribution to Latin music–and more specifically the unique sound of salsa–has been immeasurable.

by Don Amerman

Willie Colon’s Career

Began studying trumpet, age 12; formed his own band, age 14; switched from trumpet to trombone shortly thereafter; recorded first album, El malo, for Fania, a salsa record label, 1967; recorded extensively with leading Latin artists, including Hector Lavoe, Celia Cruz, Ruben Blades, and Tito Puente; helped introduce American audiences to salsa and other Latin sounds through his work with David Byrnes on the 1989 album Rei momo; ran unsuccessfully for congressional seat.
Famous Works
• Selected discography
• El malo, Fania, 1968.
• The Hustler, Fania, 1968.
• Guisando, Fania, 1969.
• Cosa nuestra, Fania, 1971.
• Asalto navideno, Fania, 1972.
• The Good, the Bad, and the Ugly, Fania, 1975.
• (With Ruben Blades) Metiendo mano, Fania, 1977.
• (With Ruben Blades) Siembra, Fania, 1978.
• (With Ismael Miranda) Doble energia, Fania, 1980.
• (With Ruben Blades) Canciones del solar de los aburridos, Fania, 1981.
• Honra y cultura, Sony International, 1991.
• Hecho en Puerto Rico, Sony International, 1993.
• (With Ruben Blades) Tras la tormenta, Sony International, 1995.
• Demasiado Corazon, Lederes Entertainment Group, 1998.

The post Willie Colon Concert! appeared first on Toronto Dance Salsa.

We were mildly disappointed that we missed the salsa bands. We were able to hear two or three different flamenco bands and one even mixed salsa with flamenco for an interesting sound. However, with the craziness and mass audience, we were not inspired to dance.

As in the last two festivals, we visited this summer, the highlight was a very interesting band with a lead musician who played an electric violin. They were amazing as usual and built the biggest audience of the evening. They played right at the opening of the festival and 2 hours later as we returned from finishing the walk they were still playing strong. The lead exerts so much energy jumping and playing frantically, it is so fun to watch.

I would love to hear if anyone got to see Son Ache or Cache playing during the weekend. Hopefully there are still a few more opportunities to this summer to catch the bands playing. Looking forward to the Latin festival at Mel Lastman Square in September!

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