It was an honor being selected to bring Rueda to the Albert Torres Northwest Salsa Congress in 2007. The world-wide Salsa Congresses were incredible, with three full days of workshops, performances, and dancing into the early morning hours. There were discounts to beautiful hotels where the event took place, and when you arrived, you were greeted with salsa music playing and everywhere you looked there were dancers – dancing in the lobby, even! The first workshops started at 9am, and the last event ended with a late night breakfast at 4am.
I had never been to anything like this before. Every single person I met was so kind, a refreshing break from some of the attitudes I had experienced in the past. One night you are watching incredible dancers on stage, and the next day, they are leading workshops with such kindness, encouragement, and attention to detail – everyone devoted to the craft and the joy and unity that Salsa can bring.
After a workshop I attended, Albert Torres was at the front of the stage, organizing papers. I approached, expressing my gratitude for the Congress. He was very kind, asking if I were teaching at the Congress, wondering how my experience was, and interested in my path to Salsa. I left the conversation amazed that someone who is so busy, someone who was an integral part of getting all of these international Congresses going, that he had a moment to talk – or that he even had interest in little ol’ me! It showed how much he cared about each individual person, genuinely curious how they are contributing to Salsa, and with his kindness and interest, creating much inspiration and encouragement to keep going, to follow my dreams.
So, in this time 20 years later, needing a bit of inspiration by recalling that magical day so long ago, a day that launched me in directions I never imagined I could go, I started searching the internet, and found some articles (links at end of article). Though, I continued my search, looking for something very inspirational, the kind of spark I got when going to the Congresses, and seeing the dancers, the live bands – and I found it! An interview, where he talks about how he got started – dancing at age 5 with his mom, a regular at the Palladium, his current projects, and plans for the future, and then! He takes an incredible deep-dive into listing dancers and musicians – from the past and present – that are key contributors to the Salsa we know today. It is an incredible collection for the history of Salsa, for understanding the music, getting inspiration for moves, routines, performances, and style!
Of note: because the interview is on a website that is labeled “not secure”, with links that go to disabled pages – I am guessing it probably is an old webpage that has not been updated, so to avoid the risk of loosing this interview, I have copied it here. Next to the artist’s names, I have added links to YouTube films – focusing on the time-frame of the interview, 2006, and if I could find them, more recent films of their current works.
On YouTube, I have created playlists, so the viewer can just click play, and watch them all. Here are those playlists:
And, here is the interview – text is copied from this “not secure” webpage – http://www.americasalsa.com/salsa_interviews/simply_albert_torres.html
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Interview with Albert Torres (excerpts from Spanish Version)
By: Sergio Lleonart
October 2006
Please tell us, just to get to know you better, where you were born and where you worked before becoming a producer.
I was born in Brooklyn, New York. I’ve always danced, first I used to dance disco and do hustle dances. Before becoming a producer, I managed 50 beds in a hospital, helping people with drug, alcohol, and mental problems. I’ve been sober since December 14th, 1985 (almost 21 years). That’s why I have a life today and help others fulfill their dreams.
How and when did you start with Salsa? How and when dancing Salsa?
I started to listen to Salsa music, that changed my life, when I was 5 years old, and later, more intensely when I was 12 – the time of the Fania All Stars.
I started to dance salsa when I was 12. But, my first classes were with my mother, who would go out to dance in the infamous Palladium of New York. She would teach me when I was only 5 years old. Later, in 1991, I was selected as one of the dancers for the movie Mambo Kings. There, not only did I have the pleasure of working with Antonio Banderas and Armand Assante, but also with Tito Puente, Celia Cruz, and José Alberto El Canario.
What was your first production and how did you get to become the most important producer of the world Salsa market?
First, I started dancing as one of the leading dancers of Mambo Kings. Later, I was selected from among 400 partners to dance in the 1993 Academy Awards, dancing to the song “My Beautiful Maria” from the movie Mambo Kings. The singer was Placido Domingo. Only four dancers were selected and I was one of them. Later, I was the choreographer of the Salsa scenes in the move Dance with Me, and I danced in the movie. I worked with Vanesa Williams and Chayanne for five months. I worked with Jack Lemmon and Walter Mattaeu in the movie Out to Sea and also danced in the film. Later, I danced with Jennifer Lopez in the Keenan Wayan Show.
And, after all this, since 1991, I started to promote Salsa clubs in Los Angeles. I lost lots of money. Nobody was intersted in Salsa. I started to manage Johnny Planco y su Conjunto Amistad, currently the most internationally renowned Salsa band from the west coast of USA.
In 1996, I worked with Leo Tizol from Puerto Rico and Bill Martinez from San Francisco, and in January of 1997, for the first time in history, we brought Los Van Van from Cuba to the United States.
1997 was the beginning of Mr. Eli Irizarry’s dream (from Puerto Rico) – the concept of Salsa congresses in San Juan. I didn’t go the first year, but I heard many nice things, although it was a financial failure. I went to the event in 1998, and was the master of ceremonies, and later the same concept started in Los Angeles, beginning in 1999. During the following eight years, the Lost Angeles Congress stood out as the largest in the world, with more than 6,000 people from 42 countries.
Now, I’m co-producer of 32 world congresses and co-producer of the World Salsa Championship that is aired by ESPN from Las Vegas, seen by more than 20 million homes worldwide.
I’m also promoter of four clubs each week in Los Angeles. I manage dancers, and still manage Johnny Polanco. For 2007, I’ve reserved 48 weeks of the year to travel and promote congresses and qualifiers for the World Salsa Championship.
What objective do you wish to accomplish with your Salsa Congresses?
My most important desire in being a promoter of the Congresses is that these means be used fro the dancers to fulfill their dream of performing on stage, and also to find a way for dancers to receive the respect they deserve. This is very important.
From the very first year, the West Coast Salsa Congress positioned itself as the most important in the whole world. How did you achieve this so quickly?
Lots of work. Searching for the best dancers for performances and for workshops. Also, that the best live Salsa bands could be seen at this Salsa Congress.
We’re always looking for new talent, since we have the possibility of presenting afternoon shows where world reowned talents have been found. Many dreams have been fulfilled and some spectacular careers have started. The way we treat the dancers, and the importance of dance floors for them to come to dance and enjoy.
What do you take into account when a Congress of such magnitude is organized? What is prioritized?
Security and that they feel comfortable. Respect, good quality shows, and live music. The right dance floor. Seats, space, relevant workshops, including some on the history of music, etc, etc. We’re in the world of entertaining the audience and respecting the dance performers.
Who and how it is decided who participates?
Between the first and fifteenth of December each year, DVDs are received from all over the world as auditions. Last year, I received 740 DVDs to review. I watch them all. Around January 22nd or 23rd, we publish the selected groups and partners on my website. I always have a waiting list in case someone can’t come to the Congress. I’m the one who makes the decision with the help of my assistant Jose Mendoza.
Which other Congresses do you organize around the world?
In some of the following, I’m co-producer, consultant, or it’s one of the qualifiers for the World Salsa Championship in Las Vegas, December 13 – 16th, 2006:
- January 2007
- Salt Lake City, Utah / New Zealand / Sydney, Australia
- February 2007
- Hawaii / Monaco / Rome, Italy / Zurich, Switzerland
- March 2007
- New York / New Jersey / Gothenburg, Sweden
- April 2007
- New Zealand / Montreal, Canada / Israel
- May 2007
- Sofia, Bulgaria / Los Angeles
- June 2007
- Hawaii / Philadelphia / Chicago / Seoul, Korea
- July 2007
- Barcelona, Spain / Caracas, Venezuela / Hamburg, Germany / San Juan, PR
- August 2007
- Seattle Northwest Congress / Bejing, China / Castellon, Spain, San Diego / New York
- September 2007
- Romania / Cali, Colombia / United Kingdom / Houston, Texas
- October 2007
- Istanbul, Turkey / Vancouver, Canada / San Francisco / Acapulco, Mexico
- December 2007
- Las Vegas, Nevada
And still to come, India, Cuba, and many more.
What’s your opinion on the current level of dance, are there significant differences, or has the playing field been leveled – do some stand out more than others?
The world level is very good.Each year, I notice that salseros from all over the world are studying more, buying DVDs and practicing more the different styles. Obviously, some countries are still among the beginners/intermediates and are only dancing in one. But there are others, such as many parts of Europe (Italy), and in Japan or Korea that are dancing more intermediate/advanced in one on in two. They’re also including the Cuban style. It’s a very interesting mix. In Milan, Italy, there’s Tropical Gem, and The Swing Guys. Two of the most sought-after and salient groups in the Congresses. Now, there are the other dancers that I’ll mention whom I consider incredible.
In Japan, there’s Ryoko and Rue. In Spain, I saw really good Salsa dancers. From Argentina, we had dancer this year that opened my eyes to talent there. In Venezuela, you have the Imagen Latina dancers. Now, I went to Cali, Colombia, ad appreciated the unique style and dedication to Salsa of dancers such those of Mulato and his Swing Group, and the world champions Ricardo Murillo and Viviana Vargas of Stilo y Sabor; they won the Cabaret Style in the first World Salsa Championship in Las Vegas that was seen worldwide in ESPN in December of 2005. I saw Salsa dancers in Cali from four to 80 years old (the old school). The kids dancing for Nueva Dimension School are great. This is the future of our dance.
Which dancers and companies have impressed you the most?
Tito & Tamara from Puerto Rico
Eddie & Maria Torres
Victor & Burju of Hacha y Machete from Boston
Johnny Vazquez from Mexico
Papa Rumba & Henry Herrera from Cuba
Oliver & Luda from Australia
Junior & Emily from San Francisco
Jhesus Aponte & Marielys Molina & Candy Mena
Amanda Estilo from Santo Domingo
Sekou McMiller from Chicago
Edwin Rivera from the Bronx and Los Angeles
There’s a lot of new blood that I’m evaluating, and during the next few years, there will be many changes. One of them is Al Liquid Silver Espinoza and his wife, Karla. In Argentina, you’ve got to five credit to some dancers that are working hard and opened our eyes to what’s happening with Salsa in Argentina, the same goes for Americasalsa that gives us information on what’s going on there. These dancers are
Salsa Santa Fe 