JOEL PIERLUISI-CORDERO AKA MR. DANGER GARDEN
Born March 4, 1986, in San Juan, Puerto Rico, Joel Pierluisi-Cordero (a.k.a. Mr. Danger Garden) began playing the bongos at age four and got his first drum set at age five.
Joel got his start at age 10 when he performed a live solo with cousin Jorge at the Gloria Estefan and Miami Sound Machine “Evolution World Tour” at Coliseo Roberto Clemente in Puerto Rico. After getting a crowd of 12,000 people on their feet two nights in a row while playing the bongos, Joel became obsessed with performing on stage.
By age 12 he could play drums, percussion, bass, piano, and guitar.
He founded his first band, Umoja, with cousin Jorge in the year 2000. Umoja, the African term for Unity, was a reggae band that played for six years in Puerto Rico, releasing an album in 2003 that included radio hit No puedo olvidarte. Joel was the lead singer, drummer, composer and music director of Umoja, sharing stage with Gondwana, Sizzla, Midnite, Burning Spear, Jarabe de Palo, Sean Paul, Steel Pulse, Cultura Profética, and more.
In 2003 he played the drums for Daddy Yankee at House of Blues in Orlando and at Coliseo Roberto Clemente in Puerto Rico. Going back to where it all began was an amazing experience that led to many other opportunities.
In 2004 Joel played the drums once again at Coliseo Roberto Clemente, this time for Zion & Lennox. That same year, he also played drums for Vico C, Tego Calderon, and others.
Later that year he began his college career in marketing at the University of Puerto Rico while performing an average of three shows-a-week with his reggae band Umoja all over the island.
In 2007 he was called to play the drums for Wisin & Yandel’s concert in Venezuela. He had not much interest in reggaeton, but the experience of traveling and meeting new places caught his attention to this oportunity. After performing with the duo in their East-West tour across the US, all the way from Madison Square Garden in New York to the Staples Center in Los Angeles, he was hired as their official drummer and toured with them for four years. He played in Venezuela, México, Costa Rica, Argentina, Chile, Paraguay, USA, Panama, Dominican Republic, Colombia, Ecuador, Peru, El Salvador, Guatemala, Paris, Barcelona, Milan, Rome, and more.
Between travels while touring with Wisin & Yandel, Joel kept producing his music, sound design for commercials, and developing different musical arrangements in his home recording studio.
In 2008 he worked as music producer for Sebastian Foglia’s lounge projects: Foglia Lounge House Sound and Foglia Spread the News.
In 2010 he wanted to start his own electronic music project and got together with Sebastian Foglia to create the group “Foglia”. He took Sebastian’s lounge project and gave it an upbeat, electro dance twist with a lot of stage energy.
In 2011, they released the hit single Dime que hay and were the opening band for 30 Seconds to Mars at Coliseo de Puerto Rico and for Cut Copy and Panda at the Coors Light Indie Fest in Aguadilla, Puerto Rico. Foglia traveled to Miami where they electrified the crowds at Bardot and Pax with their unique sound, and were interviewed by CNN, Telemundo, NBC, Terra and Latinblah. In 2012 Joel and Sebastián went on separate journeys.
Joel started his own project called DANGER GARDEN (DNGR GRDN). Finally no mainstream, no opinions about the music from anyone else, just his music exactly the way he wanted it. DNGR GRDN is a mix of all the production influences in Joel’s life. His early reggae roots and electro dance influences brought Joel his own sound within the Indie-dance / House music genres. With a live show that consists of a “live production set” where Mr. Danger brings his production equipment to the stage, and improvises every sound creating a special live set for his audience on every show infused by his percussion background.
His live shows as well as his daily production tasks may include collaborations with different producers, musicians, singers, dj’s, and many other talented friends from the industry.
DJ, Producer, Mechanical Engineer
The character of DVJ KING ARTHUR was released in 2009 by a Mechanical Engineer student named Arturo Hernandez Padin. Who has also 11 years of experience in the music business. The name of DVJ KING ARTHUR its related to his creator, since the name of the ”DVJ” stands for Disc Video Jockey, ”King” stands for a Puertorrican Holiday (The 3 Magic Kings Eve” on January 5 which its the date Arturo was born and ”Arthur” stands for its name. Which also his father named him Arturo in the name of the real King Arthur.
DVJ King Arthur’s costume is based on the King Arthur armor back in the days of history but with a creative robotic design. This futuristic character is always ready for a new battle, always ready for a new party, always ready to make an impressive show. The helmet and suit was designed and build by himself, applying his knowledge as a mechanical engineer to add to it special features like night vision, lasers, blue eyes, temperature control, air replacement system. His armor is white and frosted which stands out the reflection of its own suit multicolor lights. All of this design were created with not only the purpose of entertain the people but also to make them wonder and imagine ?? how can he do that? ?? and to promote the fact that we all can do all that we dream of, we just have to try to do it.
DVJ King Arthur has a passion for electronic music but his specialty is Electro, House and Dubstep. This choice of gender is because it has more synth sounds with an aggressive beat that always get the crowd going. He believes that electronic music will help make the world a better and happier place. King Arthur is the resident DJ of the weekly television show called Adrenalina Sin Frenos (ASF) every tuesday night on Univision Puerto Rico since 2009. He is always trying to make the crowd jump to the beat, playing special mixes by adding his own touch of ?the beat? standing out with his unique creativity. A perfect, flawless DJ set its what King Arthur always deliver. He’s personal goal as a DJ its to play and be one of the first 100 DJs of the world on ” The List ” and to be a part of the lineup of the Ultra Music Festival on Miami or Electric Daisy Carnival of Las Vegas. More info: bookings@dvjkingarthur.com
Drummer Henry Cole is at the forefront of a growing wave of jazz innovation and cross-cultural rhythm in the 21st century. With his flexibility, grace and sheer power behind the drum kit, he has proven indispensable to the sound of some of the world’s most acclaimed jazz groups, including the Grammy-nominated Miguel Zenón Quartet (Awake, Esta Plena, Alma Adentro]), Grammy winner David Sánchez (Cultural Survival), the Alfredo Rodriguez Trio, and the all-star quartet “90 Miles” featuring Sánchez, Stefon Harris and Nicholas Payton.
Henry is also asserting himself as leader of the Afro-Beat Collective, which releases its debut album Roots Before Branches this fall in the United States. Drawing on the raw groove and momentum of Fela Anikulapo Kuti as well as the depth and complexity of modern jazz, Henry strives with the Afro Beat Collective to integrate all his varied influences, including Puerto Rican folklore, funk and R&B, jazz and Afro-Caribbean rhythmic traditions.
Read more…
The San Jose Mercury News praises Henry’s “explosively detailed” playing, and All About Jazz notes his ability to “make instantaneous, organic adjustments at every turn.” In an article for Modern Drummer titled “The Future of Drumming” (January 2006), Henry was cited as an outstanding young player to watch by illustrious fellow drummers Alex Acuña, John Riley and Antonio Sanchez. In a 2009 JazzTimes magazine feature, journalist Fernando Gonzalez explored Henry’s visionary approach, his translation of Puerto Rico’s street-style pandero requinto drumming to the drum set — just one example of Henry’s bridging of traditions and disciplines in the service of a unique individual sound.Born in 1979 and raised in Mayagüez, Puerto Rico, Henry relocated to San Juan in 1999 to study classical percussion at the Conservatorio de Musica de Puerto Rico. He began his jazz immersion at Boston’s Berklee College of Music in 1998, but soon returned to San Juan, where he became one of the most in-demand and influential jazz drummers on the island. There he gained pivotal, formative experience in the varied music scene of Old San Juan: “It was very small,” Henry recalls, “but it had all styles and genres, so it was easy to go from one to the other and learn from all. I was playing rock, salsa, jazz, electronic music, all in the same week. That’s college right there.”During this time Henry worked extensively within and beyond the world of jazz, with artists such as Giovanni Hidalgo, Dave Valentin, Jerry Gonzalez, Danilo Pérez, Branford Marsalis, Luis Marin, William Cepeda’s Afro-Rican Jazz, salsa artists La PVC, the rock band Vivanativa and many more.
Relocating to New York, his current home base, in the fall of 2003, Henry received a scholarship to attend Manhattan School of Music and study with the great John Riley. Since completing his studies, Henry has performed with the likes of Chris Potter, Adam Rogers, Drew Gress, the Chico O’Farrill Afro-Cuban Big Band, Ray Barretto, Orlando “Puntilla” Rios, Papo Vazquez, Perico Sambeat, Paquito D’Rivera, David “Fathead” Newman, Kenny Werner, Mark Turner, the contemporary plena group Viento de Agua and many more. He has toured throughout the U.S. and Europe, Mexico and Central America, Korea and
Japan.
Besides his influential work with Miguel Zenón and David Sánchez — entailing appearances at the Village Vanguard and other world-renowned jazz venues — Henry can be heard on such fine recordings as Personalities by the Fabian Almazan Trio, Christian X Variations by Soren Moller with Dick Oatts & Kirin Winds, El Alquimista by Pete Rodriguez, and Rocket Science for Dummies by the electro/neo-soul group Astronauts of Antiquity. His work with dancer and choreographer Noemí Segarra includes the evening-length collaborative piece “De Rumbo De Rumba,” premiered at the Hostos Center for Arts & Culture in early April 2011. Henry also performs with Cuban-born, LA-based pianist Alfredo Rodriguez, who records for Quincy Jones’ Qwest label.
Henry is also a successful and sought-after educator, often substituting for his mentor John Riley at MSM and at SUNY Purchase College Conservatory of Music. His quartet has also taken part in Jazz at Lincoln Center’s “Rhythm Road” (a.k.a. “Jazz Ambassadors”) program, which involves concerts, master classes and lecture-recitals for musicians. In addition, Henry has provided master classes and clinics under the auspices of Carnegie Hall, Marsalis Music and other institutions. He is sponsored by Vic Firth sticks, DW Jazz drums, Latin Percussion (LP) and Zildjian cymbals.
On his debut album Roots Before Branches, Henry has assembled musicians on the order of Sean Wayland, Adam Rogers, John Ellis, Miguel Zenón, David Sánchez, Soren Moller, Egui Santiago, Rey de Jesús, Hérmes Ayala, Roy Guzmán and more. Henry’s Afro-Beat Collective pushes the aesthetic of Miles
Davis’s Bitches Brew in a strong Afro-Caribbean direction, while also melding Fela’s Afrobeat sound with a jazz-rich vocabulary: “I imagine Fela’s band with Wayne Shorter or Lee Morgan playing the solos,” Henry muses. His main goal is to see music as One World, a space beyond styles, reaching out to audiences of all kinds with a message of determination and unity
– See more at: http://www.henrycolemusic.com/bio/#sthash.fubRmSGa.dpuf
Drummer Henry Cole is at the forefront of a growing wave of jazz innovation and cross-cultural rhythm in the 21st century. With his flexibility, grace and sheer power behind the drum kit, he has proven indispensable to the sound of some of the world’s most acclaimed jazz groups, including the Grammy-nominated Miguel Zenón Quartet (Awake, Esta Plena, Alma Adentro]), Grammy winner David Sánchez (Cultural Survival), the Alfredo Rodriguez Trio, and the all-star quartet “90 Miles” featuring Sánchez, Stefon Harris and Nicholas Payton.
Henry is also asserting himself as leader of the Afro-Beat Collective, which releases its debut album Roots Before Branches this fall in the United States. Drawing on the raw groove and momentum of Fela Anikulapo Kuti as well as the depth and complexity of modern jazz, Henry strives with the Afro Beat Collective to integrate all his varied influences, including Puerto Rican folklore, funk and R&B, jazz and Afro-Caribbean rhythmic traditions.
Read more…
The San Jose Mercury News praises Henry’s “explosively detailed” playing, and All About Jazz notes his ability to “make instantaneous, organic adjustments at every turn.” In an article for Modern Drummer titled “The Future of Drumming” (January 2006), Henry was cited as an outstanding young player to watch by illustrious fellow drummers Alex Acuña, John Riley and Antonio Sanchez. In a 2009 JazzTimes magazine feature, journalist Fernando Gonzalez explored Henry’s visionary approach, his translation of Puerto Rico’s street-style pandero requinto drumming to the drum set — just one example of Henry’s bridging of traditions and disciplines in the service of a unique individual sound.Born in 1979 and raised in Mayagüez, Puerto Rico, Henry relocated to San Juan in 1999 to study classical percussion at the Conservatorio de Musica de Puerto Rico. He began his jazz immersion at Boston’s Berklee College of Music in 1998, but soon returned to San Juan, where he became one of the most in-demand and influential jazz drummers on the island. There he gained pivotal, formative experience in the varied music scene of Old San Juan: “It was very small,” Henry recalls, “but it had all styles and genres, so it was easy to go from one to the other and learn from all. I was playing rock, salsa, jazz, electronic music, all in the same week. That’s college right there.”During this time Henry worked extensively within and beyond the world of jazz, with artists such as Giovanni Hidalgo, Dave Valentin, Jerry Gonzalez, Danilo Pérez, Branford Marsalis, Luis Marin, William Cepeda’s Afro-Rican Jazz, salsa artists La PVC, the rock band Vivanativa and many more.
Relocating to New York, his current home base, in the fall of 2003, Henry received a scholarship to attend Manhattan School of Music and study with the great John Riley. Since completing his studies, Henry has performed with the likes of Chris Potter, Adam Rogers, Drew Gress, the Chico O’Farrill Afro-Cuban Big Band, Ray Barretto, Orlando “Puntilla” Rios, Papo Vazquez, Perico Sambeat, Paquito D’Rivera, David “Fathead” Newman, Kenny Werner, Mark Turner, the contemporary plena group Viento de Agua and many more. He has toured throughout the U.S. and Europe, Mexico and Central America, Korea and
Japan.
Besides his influential work with Miguel Zenón and David Sánchez — entailing appearances at the Village Vanguard and other world-renowned jazz venues — Henry can be heard on such fine recordings as Personalities by the Fabian Almazan Trio, Christian X Variations by Soren Moller with Dick Oatts & Kirin Winds, El Alquimista by Pete Rodriguez, and Rocket Science for Dummies by the electro/neo-soul group Astronauts of Antiquity. His work with dancer and choreographer Noemí Segarra includes the evening-length collaborative piece “De Rumbo De Rumba,” premiered at the Hostos Center for Arts & Culture in early April 2011. Henry also performs with Cuban-born, LA-based pianist Alfredo Rodriguez, who records for Quincy Jones’ Qwest label.
Henry is also a successful and sought-after educator, often substituting for his mentor John Riley at MSM and at SUNY Purchase College Conservatory of Music. His quartet has also taken part in Jazz at Lincoln Center’s “Rhythm Road” (a.k.a. “Jazz Ambassadors”) program, which involves concerts, master classes and lecture-recitals for musicians. In addition, Henry has provided master classes and clinics under the auspices of Carnegie Hall, Marsalis Music and other institutions. He is sponsored by Vic Firth sticks, DW Jazz drums, Latin Percussion (LP) and Zildjian cymbals.
On his debut album Roots Before Branches, Henry has assembled musicians on the order of Sean Wayland, Adam Rogers, John Ellis, Miguel Zenón, David Sánchez, Soren Moller, Egui Santiago, Rey de Jesús, Hérmes Ayala, Roy Guzmán and more. Henry’s Afro-Beat Collective pushes the aesthetic of Miles
Davis’s Bitches Brew in a strong Afro-Caribbean direction, while also melding Fela’s Afrobeat sound with a jazz-rich vocabulary: “I imagine Fela’s band with Wayne Shorter or Lee Morgan playing the solos,” Henry muses. His main goal is to see music as One World, a space beyond styles, reaching out to audiences of all kinds with a message of determination and unity
– See more at: http://www.henrycolemusic.com/bio/#sthash.fubRmSGa.dpuf
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The product of a nomadic existence, Calma Carmona’s musical background is as varied as the different cities where she lived and grew up. After seeing the world, she absorbed the aspects that appealed to her sensibilities and took the road that led her to the stage of Café Seda in Old San Juan in 2007. With the musical maturity she has gained in the last few years, Calma Carmona now aims to break with traditional patterns and create songs in her own way. As she said, “What I have always done well is express myself, that’s what fulfills me. I don’t want to do what everyone says I need to do”.
With her music denominated as Latin Soul, Calma Carmona has a display of influences ranging from Sade, Theolonious Monk and Santana, Ismael Rivera, Al Green, even PJ Harvey, La Lupe and Tina Turner. Her sound is painted with subtlety and passion, seeking to attract listeners with every verse and chorus. In all the cities she has walked on, Calma has had the opportunity to digest local and musical vibrations. As a gypsy moving from place to place, the artist she is today is now looking to share everything with her audience. It is with this desire in mind that Calma climbs on stage each night, seeking to turn spectators into believers with magic and intensity of her Latin Soul. “I give myself on stage. It is where I want to be,” said the artist.
In August 2013, Calma was voted MTViggy (previously known as MTVworld) Artist of the week. Late September 2013, Mun2 exclusively launched Calma’s first EP “There’s No Other Girl”, recorded live and produced by herself and her manager/producer Anthony Elizo as well as team of close friends. Calma feels that to launch her debut as a live recording clearly shows that she has nothing to hide. After years of training in the streets, the EP marks the culmination of her musical experience in Puerto Rico and gives us just a small glimpse into the wide variety of influences that inspire the singer. “That’s the fun part,” said the interpreter ‘Pa ‘Que Te Quejas’, “After this I can take any route. Just three days after Calma’s EP launch, she was chosen to open for Beyonce’s “Mrs. Carter World Tour” in Puerto Rico. Its evident Calma’s arrival has made quite some noise in both the Latin and the U.S industry. Calma is now left only with the memory of a young rookie, and instead we have an artist determined to captivate us over and over once she’s on stage, the world’s stage. info@calmacarmona.com. (787) 409-0295
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