Age, Biography and Wiki

Issac Delgado was born on 11 September, 1962 in Marianao, Havana, Cuba, is a Cuban musician. Discover Issac Delgado's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 61 years old?

Popular As N/A
Occupation N/A
Age 61 years old
Zodiac Sign Virgo
Born 11 September 1962
Birthday 11 September
Birthplace Marianao, Havana, Cuba
Nationality Cuba

We recommend you to check the complete list of Famous People born on 11 September. He is a member of famous musician with the age 61 years old group.

Issac Delgado Height, Weight & Measurements

At 61 years old, Issac Delgado height not available right now. We will update Issac Delgado's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Who Is Issac Delgado's Wife?

His wife is Massiel Valdes

Family
Parents Not Available
Wife Massiel Valdes
Sibling Not Available
Children Alessia Delgado, Dalina Delgado

Issac Delgado Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Issac Delgado worth at the age of 61 years old? Issac Delgado’s income source is mostly from being a successful musician. He is from Cuba. We have estimated Issac Delgado's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income musician

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Timeline

1962

Issac Delgado (born Isaac Felipe Delgado-Ramirez on April 11, 1962 in Marianao, Habana, Cuba) is one of the founders of the band NG La Banda and is a popular salsa and timba performer.

His father, Luis Delgado, was a tailor and his mother, Lina Ramirez, was an actress, dancer and singer in the Teatro Musical de La Habana.

When he was ten years old he entered the Amadeo Roldan Conservatory where he studied violoncello, an instrument that did not interest him.

At twelve he left the conservatory, and pursued the study of sports and football.

He later graduated in sport education.

At 18, Isaac joined the group "Proyecto" at the request of the pianist, Gonzalo Rubalcaba.

This sparked his innate love for music.

It was at this point that he decided to study vocal technique with one of the best vocal instructors in Cuba, Mariana De Gonish.

He also enrolled in the school for professional musicians, "Ignacio Cervantes".

1983

Issac Delgado began his professional career in 1983 when he joined Orquesta de Pacho Alonso.

He travelled internationally with the orchestra and recorded a CD with them, his first commercial recording.

1987

In 1987 he became the vocalist for Galaxia, who also recorded a CD.

1988

In 1988, Delgado became the lead vocalist for the group NG La Banda.

It was with this group that he found fame.

NG was the band that launched the timba revolution, the first new popular Cuban music genre in decades.

As NG's lead vocalist, Delgado was at the cutting edge of Cuban dance music.

His singing talents soon brought him to superstar status within the fast-growing timba field.

Delgado became one of timba's best composers and a uniquely creative melodic improviser.

In concert he often improvises words and melodies for periods of several minutes.

1990

He recorded three CDs with NG and was awarded the EGREM prize for 1990–1991.

1991

In 1991 Delgado put together his own band and recorded the CD, Dando La Hora under the artistic direction of Gonzalo Rubalcaba.

1992

This album received the 1992 EGREM Prize.

1993

His second CD, Con Ganas, again with Rubalcaba, received two EGREM prizes in 1993.

"Perhaps inspired by his work with Rubalcaba and the virtuosos of NG La Banda, Delgado has tended to stock his band with the most sophisticated jazz musicians available and to give them an exceptional amount of creative freedom. The result has been a long string of unique and fascinating groups. It's almost easier to list the great Cuban pianists who haven't played in Delgado's band, but here's a partial list of those who have: Tony Pérez, Javier "Caramelo" Massó, Iván "Melón" Lewis, Pepe Rivero, Yaniel "El Majá" Matos, Roberto Carlos "Cucurucho" Valdés, Rolando Luna, Tony Rodríguez and Issacito Delgado"

1994

In 1994 he received another EGREM award for his CD El chevere de la salsa y el caballero del son.

His next album was El Año Que Viene.

He later travelled to the United States to perform in the Festival of Salsa in New York's Madison Square Garden with Celia Cruz, José Alberto "El Canario", and Grupo Niche.

In New York he recorded another album, Otra Ideal.

Delgado's 1994 hit "La Sandunguita" (composed by his bassist Alain Pérez) took unprecedented liberties with clave, that are considered "sacrilegious" to old school musicians (Peñalosa 2012: 246).

While such innovations further aggravated the salsa—timba clave schism, there is no disagreement that "La sandunguita" swings.

1996

Delgado's most famous group (1996‐1998) was with Alain Pérez on bass and Iván "Melón" Lewis on piano.

Of particular note was the band's ability to spontaneously change the arrangement during performances.

1997

In 1997 he performed at the festival, Guerra de la Salsa with La India, Rey Ruiz, and Tony Vega.

At this point in his career, Delgado was recording with both New York salsa musicians and Cuban timba musicians.

Some of his recorded material sounds like salsa, but with distinctive timba elements periodically emerging to the surface.

While some timba fans may have been disappointed hearing Delgado in a tamer and more polished salsa sound, the singer continued to record songs with leading timba musicians.

Consequently, much of his post-NG material contains some of the most innovative instrumental accompaniment within the context of Cuban-style dance music.

The overall sound of Delgado's recordings from this period sound far more like salsa than timba, However, little details in the arrangements reveal the handiwork of some of Cuba's most important innovators.

2012

- Moore 2012: 93.

They were able to produce changes spontaneously by using flexible rhythm section schemes allowing them to alter the form of an arrangement to fit the flow of each performance (Moore 2012: 91).