(upbeat music) - [Announcer] This is a production of South Dakota public broadcasting.

(intense music) - Welcome to Levitt in your living room.

I'm your host, Apolonia Davalos.

We love gratitude.

So first a sincere thank you to our sponsors, Dan and Arlene Kirby, the South Dakota arts council, and the Mortimer and Mimi Levitt foundation.

The Levitt Shell Sioux Falls is part of a national network of outdoor Levitt music venues, and concert sites, dedicated to strengthening the social fabric of communities.

Presenting a broad array of musical genres and cultural programming, Levitt venues bring together families, friends, neighbors of all ages and backgrounds.

Learn more at levitt.org.

With a mission to enrich the Midwest with the best authentic salsa and traditional Latin music, composed of 13 musicians, recipient of the 2020 Omaha entertainment and arts award for outstanding world music.

Joining us from Omaha, Nebraska.

We are joyful to introduce Esencia Latina.

Hello.

- Well, hello, - Welcome, thank you so much for spending time with us today.

- Of course, of course, thanks for having us.

- I know, I know 13 minus two, we have such a big.

Paige, hello, welcome.

So tell us how have you come together?

There's 13 members of your band.

How do, with that size, those in, you know, in the different journeys that we have in our lives, how does that come to be?

- Well, a lot of patience definitely and communication.

I mean, everybody's on the, we speak the same language, which is music.

So we have that, you know, that's the bottom line, that's the story line.

And then after that, it's just communicating what needs to be done.

There are a lot of professionals there and that's great.

That makes it easy.

- So where does the name of Esencia Latina come from?

Like where, you know, during your early years, when you were founded, how did that come about?

Because I feel like there, it goes a lot into a name.

- Well the founder, I am Mexican and my great-grandfather and his brothers were the first mariachis in Omaha.

And then we were, (clears throat) excuse me.

And then we were the first salsa band in Omaha.

And so he just like, there was just this this Latin essence about the band.

And so there's Mexicans, there's Puerto Ricans, Venezuelan, all these cultures just coming together.

And so he was just like, it's just essentially, this band is essentially this Latin essence.

- So with all the different cultures and backgrounds, I feel like we all bring a lot of different, it seems something very unique to the table.

So how do you establish or communicate and unify that sound?

- Well, basically, you know, we part from the point that salsa is a mix of different sounds, right?

Different rhythms, and we have music from Panama, from Cuba, Colombia, New York, blues from the south, here in the United States.

So basically that's our starting point.

And from there, we kind of like are in tune in the same line of thought.

And I think that makes it easy, actually, we have a lot of communication.

- I think coming together, a lot of our horns and then myself and the pianist have like jazz backgrounds, and salsa and jazz are like cousins or like second cousins.

So like, there's that improv aspect of it.

And then he said there's these professionals and it makes it easy.

But you guys are professionals too, because you grew up, like from the time that you're in diapers, you're playing these drums.

And so it's just, it was really cool to, like he said, you know, even though like, we mostly read music and then the other, and then a lot of percussionists don't.

Just a way we're able to meld together.

- And that was, yeah.

And she brought up a very interesting point because for example, like she mentioned, I grew up playing salsa my whole life, I have since I was a baby in back in Puerto Rico.

And when I first started and they all read music, and they read everything, but playing, they will read, and we play, we kind of like, me personally, I was kinda like, okay, where are we at?

We gotta meet in the middle because they can read, but they don't have yet that feeling of the music, you know, sometimes you gotta really do it on the street down there, but they got it like already.

I was like, my goodness, these guys are good.

They're extremely good.

So I'm happy to be here.

Cause they are like up there, you know?

And that was great.

Actually, that's a very nice experience.

- So you continue to challenge and continue to grow through your music with the different disciplines that you have.

So you're from Puerto Rico, Paige, where are you from?

- I'm from Omaha, Nebraska.

- Okay, yeah, awesome.

And so what brought you from Puerto Rico to Omaha?

I joined the military and my last station was at the Alfred air force base.

And ever since they told me like, well, once you get on it, no, once you get assigned to Alfred, you can not get off it.

(laughing) And I was like, that's not gonna happen, I'm going back home.

I mean like my temperature range was like 79 and up and Omaha was like fifties and forties.

And for some reason, on my way to the airport, I got lost and I've been there for like 25, 6 years, so, trying to find my way back.

- Everybody stays.

(laughs) Well, first thank you for your service so very much.

And I'm glad that you got lost and that we get to have you, so it's truly a blessing all around.

So the first song that we're going to be listening to, it is, okay, Vamonos Pal Monte and how did I do?

- [Paige] And tell us, what is this song about, that we're gonna be listening to?

- Well, Vamonos Pal Monte basically is one of the, let's say we have in jazz, we have what's called jazz standards, in salsa there is the salsa standard actually, it's composed Eddie Palmieri, by one of the famous, and I would say the top piano player, - He defined the (mumbles) - His arrangements are very complicated.

So in order to play something from him or play in his band, you really have to be good.

And this guy do it like it's a piece of cake.

I give him a piece of cake, which is incredible, you know, but Vamonos Pal Monte is basically an expression.

You know, the people from the city when they want to, you know, get away from the noise and all what's happening in the city, say, "You know what?

Vamonos Pal Monte."

Like, okay, let's get out of here.

Let's go to someplace quiet, or a better place.

Because back then, and in, for example, in Puerto Rico, the action happened at the Monte, at the countryside, and everybody, and you know, all the music and everything.

Everybody went over there, you know, from the city to the countryside.

So that became kind of like the expression, Vamonos Pal Monte, let's go there.

- Oh my gosh.

Well let's all escape and embrace, dance to Vamonos Pal Monte.

- One, two, three, four.

(upbeat music) - Let's see if you guys can help us with the clapping.

Pah pah, pah pah pah.

Pah pah, pah pah pah.

Pah pah, pah pah pah.

Pah pah, pah pah pah.

Pah pah, pah pah pah.

It's okay, very good, good good, let's do this.

All right, and keep dancing, okay?

Pah pah, pah pah pah.

And please, let me welcome and introduce Mr. Sessan Salsa.

(salsa music) Vamonos Pal Monte.

(speaking in foreign language) (salsa music) (trumpet music) (speaking in foreign language) (trumpet music) (speaking in foreign language) And on the piano, Lee Hanson.

From Leko, Nebraska, Ton Harville.

(piano music) (speaking in foreign language) Mr. L Hollars.

(bongo music) (speaking in foreign language) (audience cheering) (speaking in foreign language) Mr. Jose Pepe Conga.

(drumming) (speaking in foreign language) Give it up for Pepe La Conga.

(salsa music) From Colombia, (mumbles) Mr. Lalo.

(salsa music) (speaking in foreign language) (audience cheering) - Oh, what a beautiful song.

So for your music, do you guys create originals as well?

Or is it just an honor to a history of Latin music from many different backgrounds that you, is that how you describe the music we hear when we come hear you play?

- We do, yeah, we do a lot of covers.

We have done a couple originals.

We didn't bring any originals with us today, but yeah, to do, like he said, these are standards and then they've been arranged.

Some of them have been arranged for us.

Some of them Derek has arranged.

And then because of the improv and the communication, like the song, every time you play it's different, the solo's are gonna be different, the feel's gonna be different.

If the crowd's really digging it, we're going to stretch it out.

And, because the music is nothing without the dancers, like we have to have dancers.

- And yeah, adding to that, as a matter of fact, I was talking to a composer from Panama and he sent me about like five or six compositions, originals.

And then I talked to my brother in Puerto Rico who plays in different groups and knows a lot of arrangers, to make arrangements for at least those six songs.

So we're gonna have a new, in the repertoire, like pretty soon, next coming months.

- Oh, I can't wait, music is alive.

It's the thing that really does keep us going and growing.

It's just very exciting.

So how many, with your band mates, can you tell us, walk us through the different music, sorry, walk us through the different instruments that are being played and the different sound, like for people who are hearing you for the first time.

Who are we listening to?

- Oh boy, do you want to go through vocals and percussion?

- Yes, we're gonna have in the vocals.

We have Jimmy Nunez and Michael Nunez, they are brothers.

They come from De Moines.

And we have Alex, of course, the founding member of the band in the percussion, there is Jose in the congas.

We have Lolo, which is Jose too, and the team Balez, and then me at the bongos, and (mumbles), the cowbell, and more cowbell.

- Yes.

(laughing) - And that's pretty much the front line.

We have Paige, bass.

- One bass.

- On some bass, and we have Tom on the piano too.

- And then my husband's on saxophones, Chris, and then, oh, my husband's on saxophones.

We have Derek Maleczech, who is on trombone.

He's been with us for a while.

We have Luke Anas who is subbing in with us on trombone, and then two powerhouse trumpet players, Dave Black and Marcus Nunez.

And they are just, as high as you can go.

Like Mariah Carey, all I Want for Christmas Is You, like that whistle tone.

They just phew and it like, it's nothing.

- Whoa, we are in the presence of greatness.

So through the times that you've played together, has there been that song, and songs are so personal to us, right?

That really synergized or unified you as a band, you know, you just guys had a moment and you were like, (gasps) you know, the hearts, tears, I don't know, things like, have you had a moment like that together while playing?

Especially since each time you play it is different.

It is magical.

- I think one of the first times, I don't think you were there in the really early days when it would take us like four or five practices to get through one song.

One of our earliest songs, and I think we're playing it today is Juana Pena.

And I think that might have been, or Yo Gorras, was one of those, and we just finally like, got it.

We got through it, and from there on, it felt like every rehearsal we could get through one song, two songs, three songs until like, we finally just clicked.

And now, like you said, it's nothing for us to put something together.

It just happens so quickly.

And I think you'll see some of that magic.

Like, you can't hear this music and not smile, like the horns come in big and they're gonna blast.

And just like, boom, hit you in the face.

And it's just, you just smile.

(laughing) - And we got a little bit of Helo's origin story.

How did music find you?

- How did music find me?

Or like I said, my great grandfather's were the first mariachis in Omaha, but, like the direct line, it just like stopped.

My uncle's, who's like in an eighties hair band.

And he taught me drums when I was very young.

So I think I had a good foundation.

And then I played violin in school.

And I think my mom thought she was being like the cool mom.

And like, you know, she'll quit after a few years.

And I got to seventh grade, teacher switched me to bass, and I don't know, it was like, oh yeah, this is what I'm going to do with my life.

And my dad was really mad cause I got like straight A's and stuff.

He was worried I was going to be poor, He was like struggling, starving musician.

I'm like, I do okay.

- Right, we've gotta change it up.

Not starving artists, thriving artists, you know.

- Surviving.

(laughing) - Yes, that too, and really keeping us all surviving, because music is survival, right?

- This past year has been foof because I'm also an actor and there's a lot of that that can be done virtually.

But with the time delays for you to Skype and Zoom, it was just so hard to play with people and, unless they were in your household.

So like my husband, our roommate at the time, and I, we were a little trio and we got to play, but yeah, it's just like this big, we couldn't get together with this many people in play and it's.

- But if you look at it, what get you through the pandemic, basically, is music.

- Yeah.

- Because you are in your house, you know, you're home, and you know, you're pretty much isolated.

What do you do?

You turn on the radio or iPad or, you know, when I, you know, go online and listen to music.

So I think music is like, is the at least, some kind of like a- - [Paige] Necessity.

- Necessity, yeah.

Like a necessary evil, you know, (mumbles) but yeah, this is what gets you through the pandemic or the bad times, you know?

And I remember going through, you know, bad times, even back home when like a friend or a family member dies, we always, you know, take him to the cemetery with music.

You know, that's very rooted there, you know, music is everything for us.

I mean, it's like, everybody asks me, you know they say, "What are you doing?"

Like, I'm an engineer, but I'm a musician.

That's what I am, a musician, I, and you know, here's what I do on the side, but music is my life.

So it's the most important thing.

- It is, music is essential, I couldn't agree more.

So for the next song, so for the next song, Cali Pachanguero, tell us about this number.

What does it mean to you?

Or what does it mean, you know?

- Cali Pachanguero, it's a song from Columbia, and that's considered, basically, the second national Anthem in Colombia.

The last very, you know, everywhere we go, everybody want to, hey, Cali Pachanguero.

You know, everybody want's us to play that song.

And it's because of the rhythm and everything, and coming from Columbia, we know that there's a lot of flavor in it and it's (mumbles) like what we call it.

And it's a very dynamic number, very dynamic number.

- It's a number that features almost every horn player at some point, either with a solo, improvised solo, or like, it just hits you from the get go with Barry on bass and low piano right away in this line that is just like, it's great, you're like, oh, like, no, like if you, if you're from Colombia, if you're from Puerto Rico, anywhere, you're like, you know this song, you know, it gets you on the dance floor right away.

It's like Don't Stop Believing, right?

Like you're just.

(laughing) - It will get you moving right there.

I mean, this is like, oh, what's going on?

And it, yeah, it will get you moving.

And you know, it's the energy right there.

And yeah, we go crazy with that song.

- Whew, well, get ready to go crazy.

You're watching this, just stand up, stand up and dance to Cali Pachanguero.

(Cali Pachanguero) (speaking in a foreign language) - Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey.

(speaking in a foreign language) (trumpet music) (audience cheering) - Wow, okay, that's what I'm talking about people.

- Wow, how your music just brings us all to life.

What a treat.

So how do we get to know, how do we get to see you?

You know, for those of us who were watching and you guys travel, how do you pick where you bring Esencia Latina?

- A lot of coordination, we're so big.

- Yeah, definitely, we go to different venues.

Most of the times they, you know, send us messages and "Hey, you guys playing, one, you guys playing in our wedding, or quinceneara?"

For example.

And there's also, you know, we go, some places say, "Hey, you're looking forward to some, you know, variety for your place?

We can, we pull a of people.

So, and they praise us, say okay let's give you a trial and see what happens, then when see it's full, the house, it's like, I want you guys playing again, so give me a call, I want you guys again.

You know, so yeah, it's a lot of leg work.

- So I don't think we ever have turned down a gig really, because we're so large.

We can have subs come in too, since we do have some written music, or people that grew up with it, you know, throw them in one rehearsal and they're good to go.

But like I said, we do have a sub today and you can just like drop a person in.

And it's great, because music is that language, you can come in and once you just feel the cohesiveness of the rest of the group, it's just like, you just drop it into your spot.

(laughing) - I love it, be sure to check them out on their Facebook page and on Instagram, Esencia Latina band.

So you can see them where you live or invite them.

They've never turned down a gig, be sure to invite them to your town, your city, and your state.

I also like to thank our sponsors, Dan and Arlene Kirby, the South Dakota arts council, and the Mortimer and Mimi Levitt foundation.

So being in the Midwest, have you found that your music has been receptive by a community?

Let's say people that do not have a Latin background, it is that universal language.

It just calls to people.

How has the Midwest treated what the culture and the dance and the history that you offer?

- My experience has been very, very good, so to speak, and in the, basically first I was kinda hesitant, like in a Latin band, here, I mean like what, but, you know, after a first concert or first festival that we went, you see people from all ages, classes or cares, I mean, all together, dancing.

It's like, you know, let's that's music.

That's, that's the effect that music hasn't been, you don't need anything else, you need just music.

- Yeah, venturing out the first time to like a non-Latin venue we were just like, we have no idea how we're gonna be received.

We knew like, some of like, our dedicated dancers were gonna be there, but every time we've gone to a festival, again, like, even if you don't dance salsa, like people know how to move.

And that's just been, I just got the goosebumps.

(laughing) When we played for the Omaha arts and entertainment awards, that was just amazing.

Just like people just stood up in their seats and just like were moving.

And that was just so great because that's every kind of music, every kind of art is honored there.

And so you had people from like grunge bands, heavy metal, and like just up and dancing.

And it was just so like, it was just magical.

- One of the things I like, is when I'm playing, I see people dancing.

That's basically, I just look at them and the way that they have a good time and that for me, that's, you know, my prize, my reward on it, especially senior citizens, they, you know, they go out and maybe they take a class, a couple classes, you know, dancing classes and they move probably better than I move on the dance floor.

And I was like, my goodness, you can dance, you guys can dance.

That's good, you know?

Cause you know, that is universal.

You have all ages or ranges and everything is, everything is music.

- Everything is music.

What did it feel like winning the outstanding world music award from the Omaha entertainment and arts awards?

- That here, we didn't expect it actually at all.

And the only reason was there was because my husband was playing right?

That was not the year that we played, right?

It was the year after we played.

- The year after we played, yeah.

- Yeah, and so I wasn't planning on going that year.

And my husband was in, he got called in again just to sub in a band or fill out a band.

And so I went down there and it was just for me, I went up and accepted the award and it just meant so much because at the time what was going on in this country and, you know, we have kids in cages and, you know, go back to Mexico, to anybody that's a little bit brown.

And just for the Omaha community, to, when we didn't even expect it, we didn't, I don't think we even performed for the showcase when we were not, we were just like, just to go to vote for a band that seems exclusively in Spanish, is a different culture than most of them are used to.

Like, it was very powerful and still just makes me a little bit emotional honestly.

- As well as it should.

It's great to be acknowledged for that.

And I love that it's world music, you know, it extends beyond any border, you know, and so that's why it's even more of a treasure to have you with us today.

So the next song, Yo Raras, did I say it?

- Yo Raras.

- Yeah, Yo Raras Yo Raras, I'm gonna get it.

I see it, we're all learning, we're all learning, you know, we're all learning.

- It's in the chorus all the time.

So you can practice.

- Oh, okay great, and I'll be there, I can't wait.

Tell us about this song.

- Okay, this song is from Venezuela, from Scan De Lion, he's a bass player and band leader in Venezuela, Yo Raras, and the rhythm is very catchy, you know, the chorus is very catchy, Yo Raras, and they're Spanish, it means like crying, but it's not, it's not a sad song, basically saying he composed it basically on, he fell in love with this beautiful lady.

And she, because he was musician, basically, she kind of like rejected him.

So like, oh yeah, you're like, you'd be like playing and having girls and you tell everything, you know, the same thing to every girl, right?

And kind of like react to him.

So he said like one day you're going to cry from me.

So that's basically the song, Yo Raras, and the things that he said, Yo Raras, because you're gonna see me one day, I'm going to be famous and you're going to be crying.

But you know, it's a funny song, it's very catchy.

- And it's yeah, it's a fairly simple song.

It is like, in the way that it's constructed.

And again, it's one of those teams that we can just stretch and mold and go, it's like, it's.

- You know, simplicity makes it great.

That's what makes great that song, right?

- Yeah, it's the simplicity of it.

Because it's just a vehicle to keep going and keep moving.

- Oh yeah.

Everybody knows that song and everybody sings that song.

- You're going to sing it.

(members talking over each other) - Yes, oh my God get ready to sing along together, Yo Raras.

(speaking in a foreign language) (salsa music) (clapping) (salsa music) (speaking in a foreign language) - Okay, we're going to see if you guys can help us with the chorus, okay?

You guys want to help?

You guys want to see the chorus, it's easy, he says, yo raras, yo raras, just try it, okay?

Yo raras, yo raras, yo raras.

Okay so follow me, yo raras, yo raras, yo raras, perfect.

Yo raras.

(speaking in a foreign language) (trumpets) (audience cheering) Wow.

- Oh man, something simple that we can all learn and dive into, thank you.

So I would like to make a bold statement and you know, the Latin music, yes, we have this universal language, but I think it's also the ultimate love language, right?

Would you agree?

And there's such joy that comes out, you know, we're talking about this, you're just gonna be smiling throughout your performance.

Like why do you think Latin music has that effect on us?

You know, what are, you know, you play it, you live, it, it is in you.

And again, even people don't speak it, it just calls to them.

What do you think is the root of that?

- I think it's here, like your heartbeat.

And that's just, that's part of, I mean, that's the component when you're playing.

Yeah, boom ticka boom ticka boom, and then that translates into the other drum somewhere.

And it just, I, I think it's just part, I think like every music is based in that, but it's just like, I'm gonna get like existential, but it's just like the energies that we feel and in our lives.

And I think it just comes down to that basic.

I mean, when you're in the womb, that is music to you, your mother's heartbeat.

And so it starts there and it just builds on it, build this beautiful world of sound.

- Like this invisible force that takes over, you know, in which I could explain a way that it could be more, you know, material, more solid, but it's like, this is invisible energy that gets you, to get you going, you know, in the music, and you hear music, hey, where are you?

Look, oh, I wanna, yeah I wanna go over there because that's where they're playing, you know?

And I guess it's probably similar for everybody.

They listen to it and it's like, oh my goodness, that's good, I want to dance.

And they started dancing, you know?

So it's, I don't know, maybe it's something spiritual around, I guess, that gets you going, you know, get you in.

And once you're hooked up, you're gonna be there dancing like crazy.

- Yes, yes, amen, I'm ready, ready to dance.

So before we end, what you guys create, music is in you.

And for those who look towards you, you know, I feel like when you are in the, when people watch you in the audience, no matter what age, there's something that we can learn and grow and take from that.

And I feel like music opens up our hearts to this ultimate hope, right?

Unifying hope.

Do you, is there a philosophy or an approach that you have to music, and you've already shared so much and kind of delve into that, but anything we have not touched on that you want to share with us as we hear, you know, hear your music or just an approach to life, what are your thoughts?

- Well, in my approach for music, and basically I would say music is my life.

That's what I love.

And probably one of the things I say, like, if I die, I hope I die playing.

I want to go in style, playing.

But seriously, I love music.

And the way that, you know, when I grew up and that kind of upbringing back in the neighborhood in Puerto Rico.

And then we were, things weren't that good.

The only thing you had was music, you know?

You make music with, you pick up like those tin cans, and, you know, use it.

I remember using them as bongos and say, hey, I'm playing bongos, well, you're not, you're playing some cans there.

But so thinking about that first, I'm grateful for what I'm doing.

And especially with them playing, but also I look, and people, I can look in their eyes, that desire, like to say, "Hey, I want to do this.

I can do this."

You know, it's something, maybe you have some need to have some knowledge about music maybe, but that's not really important.

What is important, what you have inside.

If you really want to want to bring it out, you want to, you want to play, you know?

That's, I think the wheel that's, that's basically what counts.

That's what I always look in when I'm playing, I see the people and they don't care.

They're dancing and I am dancing like a crazy person, but it doesn't matter.

It doesn't matter because they having a good time.

And then that's what it is.

That's, you don't need form, you don't need style.

You don't need anything like that.

It's just, just let go do it, that's it.

So, yeah.

- There's a comfort in it.

I think that's what drew me to bass is like, you literally feel it, especially like, when, if I play upright bass, like I can feel the thing move against me.

And I just think that there is something powerful or spiritual about literally.

Cause that's all sound is, is vibrations.

When you think about it, you're like, what's so appealing about that?

And I think it just comes down to the human makeup.

That is just, sound is how we experience our world.

A lot of times, you know, we're gonna hear something before we see it often.

And so it's just, or like if we're walking down the street, cause we're not going to be, oh, you know, it's like, oh, we hear the music, and so, I think that's- - Because at least, you know that for the while, be 10 minutes, 15, 51 hour, at least you're gonna forget about everything else.

And you gonna be, at least you're going to be happy at that time, but I haven't met anybody that would say, "Hey, I went to this concert and I was miserable."

No, they would say, "I went to this concert and I had a good time."

So yeah, that's yeah, that's the reason, that's why, you know, so yeah, at least for that moment, those minutes, you forget everything else and you're living it.

You're happy, that's how it is.

- Wow, there's this wholesomeness to it.

You know, I feel like, like you were saying the heartbeat, it really is magical.

How we, I think it just really synchronizes us to one single heartbeat as well, which is, I mean, spiritual magical, all, it is outstanding.

How we can all just kind of move and feel the same.

And that is a gift for you.

You also, to be able to make that happen, pulling us in.

So thank you so very much for being with us today.

Friends, give them a follow on their social media.

Esencio Latina band, both on Facebook and Instagram.

Like they said, the vibrations of life, our soul, our will.

It is something that leads us into a greatness beyond ourselves, beyond any judgment, beyond any border.

It is a world within itself that unifies us.

And that is what our mission is all about.

Building community through music.

So thank you to our sponsors for bringing this discussion.

Bringing is Esencia Latina with us today.

And so thank you to Dan and Arlene Kirby, the South Dakota arts council, and the Mortimer and Mimi Levitt foundation.

I am your host Apolonia Davalos, and I love you.

(upbeat music)