2026

José Mangual Sr. “Buyú”: The Architect of Bongo Sound Defining the Rules of How it Should Sound

In the history of Afro-Latin music, there are names that didn’t just play an instrument they defined the rules of how it should sound. José Mangual Sr., known universally as “Buyú,” is one of those pillars.

José Mangual Sr., known universally as Buyú, is one of those pillars

An extraordinary and legendary percussionist, José Mangual Sr. was the founder of the prestigious percussive lineage that carries his surname.

Since his childhood in Juana Díaz, he professed a deep love for music; by age ten, he was already playing professionally, and during his youth, he even enjoyed crafting his own bongos.

Over time, he became the musician who endowed the instrument with an extraordinary sonority. He was the father of the equally prominent percussionists José Mangual Jr. and Luis Mangual.

The Architect of Sound on the Bongos defining the rules of how it should sound

Considered by experts as one of the greatest bongo players of all time, his legacy remains the gold standard for meter and tuning in Latin Jazz and Salsa.

From Juana Díaz to the Heart of Spanish Harlem

Born on March 18, 1924, in Juana Díaz, Puerto Rico, Mangual discovered his vocation at age 10. However, his musical destiny was sealed in 1938 when he migrated to New York at the age of 14.

Settling in Spanish Harlem (“El Barrio”), he found himself at the epicenter of a cultural explosion that was about to change world music forever.

The Consecration: Machito and his Afro-Cubans

Although he began by filling the timbales position, it was with the Machito and his Afro-Cubans orchestra where “Buyú” made history. Under the direction of Mario Bauzá (who is said to have given him his nickname), Mangual remained with the group for nearly 17 years.

The Legacy and the Patriarch of a Dynasty

Rhythmic Innovation: He was part of the “perfect percussion trio” alongside Carlos Vidal (congas) and Machito (maracas).
Historic Fusion: His performance was key to blending the complexity of Afro-Cuban rhythms with the harmonies of New York Jazz in the 1940s and 50s.

An Unrivaled Session Musician

His technique was so clean and his sound so bright that he became the preferred collaborator for the biggest stars. Throughout his career, he contributed his mastery to projects led by:

Tito Puente: The “King of the Timbales.”
Israel López “Cachao”: Participating in historic Afro-Cuban Jazz “descargas” (jam sessions).
Jazz Greats: His versatility allowed him to navigate fluidly between the world of Big Bands and traditional Salsa ensembles.

Pedagogical Legacy and Solo Career

In the 70s and 80s, Mangual recorded music not only for enjoyment but also for instruction:

Album “Buyú” (1977): A Latin Jazz gem on the Turnstyle label, featuring tracks like “Black & Brown Boogie.”
Musical Education: Alongside conguero Carlos “Patato” Valdés, he recorded the volumes of Understanding Latin Rhythms. These LPs became the auditory manual for thousands of percussionists around the globe.
The Mangual Dynasty: In 1986, he consolidated his family heritage with the album Los Mangual: Una Dinastía, recording alongside his talented sons.

“The sound of his cowbell and his bongo didn’t just mark time; they cemented the foundations of the music we dance to today.”

The Patriarch of a Dynasty

The impact of José Mangual Sr. extends through his sons, who inherited his musical excellence:

José Mangual Jr. (“El Milamores”): Famous bongo player and singer, a key figure in the orchestras of Willie Colón and Héctor Lavoe.
Luis Mangual: Renowned percussionist and musical director.

Passing and Recognition: Buyú passed away in 1998, leaving an irreplaceable void. In 2001, he was posthumously inducted into the International Latin Music Hall of Fame a fitting tribute to the man who gave the bongo unprecedented brilliance and elegance.

Also Read: Israel “Cachao” López, a Cuban musician and composer, has been hailed as “the Inventor of Mambo”

Dominican bandleader and musical director Orlando Santana talks about La Makina and his career in general

Orlando Santana, the bandleader and musical director of La Makina, has made room in his busy schedule filled with studio recordings to talk about the most interesting topics of his career and, of course, the group that has given him more fame.

The Dominican artist has built an interesting career that led to his aforementioned group, which was founded in Borinquén (the name given to Puerto Rico before the arrival of the Spanish). Naturally, the genre by which La Makina is best known is merengue, implying that the Dominican Republic is still present in mind and heart.

Orlando with his saxophone — Orlando Santana with his saxophone

Orlando’s Beginnings in Music

Orlando started his story by saying that music had a significant presence in his life because his father, Santiago Santana, was a music teacher who taught in their own home. He taught all types of instruments such as the saxophone, trumpet, flute, piano, bandoneon, clarinet, guitar, and many more. Additionally, he also knew about harmony, solfège (sung), and solfège (spoken).

This led to his son learning to play instruments at a very young age and being interested in this way of life.

Orlando’s Music Education

When Orlando moved to Miami, he took private piano lessons for a while, just as his father did with his students, but it was from Richie Ray and Bobby Cruz whom he really learned. He attended their church and took advantage of his visits to receive some piano lessons from Richie, while his brother David Santana, who was already a veteran musician, bought him his first saxophone and taught him many other tricks of the trade.

Early experiences as a paid professional

As for the beginning of his professional practice, Orlando, as a 15-year-old boy, started with the orchestra Dioni Fernández y El Equipo, from which the great Sergio Vargas emerged. In fact, they entered together a television channel (Color Visión, Channel 9) on the same day in Santo Domingo. This group is still active today, and Sergio Vargas’s own brother, Caqui Vargas, is currently part of it.

Bobby and Orlando — Bobby Valentín and Orlando Santana

Some time later, he had the opportunity to perform along with Wilfrido Vargas, which he describes as an incredible experience, since Vargas’s orchestra had a very challenging repertoire and he had to prepare himself very well in order to play along with the merengue exponents and his musicians. Orlando came on as a substitute replacing his brother on some tours, where he showed he had the capacity to keep up with their pace and improvise just like Wilfrido did so with ease on stage.

Among the most important things this time taught him, the artist mentioned discipline, the importance of always practicing his instruments, and a permanent focus on what he wanted to achieve. Another thing he mentioned was the significant improvement in his ability to improvise and release new material constantly.

He also learned a lot from Toño Rosario, Peter Cruz, Cuco Valoy, Ramón Orlando, and Elías Santana (Orlando’s first cousin and trumpeter for Conjunto Quisqueya). With all of them, he also came to play both merengue and other genres.

How La Makina Band was founded

Orlando met Fernando Colón in Toño Rosario’s orchestra, while he was a saxophonist, and Fernando entered as a bassist. At the same time, Orlando was writing some arrangements for Los Sabrosos del Merengue, and as it so happens that Fernando was also working with them, so they were always in constant contact.

When Orlando decided to found an orchestra, it was he who called him and accepted his proposal. That was when both artists founded La Makina in 1996, though the process started a year earlier when they set up a company for that purpose.

Orlando and Rafael — Orlano Santana and Rafael Ithier from El Gran Combo de Puerto Rico

His Role as producer and director

Regarding his role as producer and director of La Makina, he points out the importance of preparing and studying to exercise these areas of music. In his case, he had already spent many years working on important record productions, including those he did together with his cousin Cesar Cuesta, with whom he formed a small orchestra that covered songs by very famous bands. He created his own musical arrangements for these new versions to differentiate them from the original songs and wrote scores for other musicians.

In addition, he served as music producer for Grupomanía and wrote songs for artists such as Toño Rosario, Elvis Crespo, Oscarito, Manny Manuel, and many others.

Current Members of La Makina

Of the original members of La Makina, the only one left is Orlando himself, but he has been joined by other equally-talented musicians, including Carlitos Rivera and his own son, Anderson Santana.

Orlando and Johnny — Orlando Santana and Johnny Ventura in San Juan, Puerto Rico

Current projects

This conversation had been delayed a few times due to how busy Orlando was in the studio working on new music, so obviously we had to ask what it was all about.

He told us that he and the rest of the group were working on a remastering of La Makina’s greatest hits, but with other arrangements and a fresh color. They also plan to include songs recorded by other artists but written by Orlando for them. He did not want to say what these would be so they would be a surprise for the audience.

Uruguayan composer and multiinstrumentalist Sebastián Natal and his band Grupo Sensación

After having contact for days and overcoming some pitfalls, we could finally get to talking with producer, composer, and multi-instrumentalist Sebastián Natal, who kindly attended and revealed his views on the path he has followed to become the great artist he is today.

Sebastián Natal posing for the camera with his instruments

Sebastián Natal’s beginnings

First, Sebastián appreciated our interest in learning a little more about him and began to describe his native country’s musical and cultural context at the time. First of all, the artist was born in Montevideo, Uruguay, where a tropical music movement was established by then, considering many genres from the tropics and the Caribbean, such as salsa, bachata, merengue, cumbia, guaguancó, and many more.

Obviously, these genres did not originate in Uruguay, as bomba is Puerto Rican, salsa is Cuban, and bachata is Dominican. However, there were quite a few groups and musicians who used these tropical roots to create their own identity. Outside of Montevideo, other provinces listened much more to cumbia and charanga.

The orchestras that played these rhythms were dedicated to developing covers of salsa songs, but by bringing them into other genres that were emerging at the time, such as plena, plena danza, and bomba, among others. Sebastián grew up with this sonority in his country, so the whole musical environment he was exposed to abroad became very familiar to him and easy to assimilate. From the early ‘nineties, as a young boy, he began to absorb all the influence from the dawn of romantic salsa and iconic songs such as “Aquel Viejo Motel,” “Cinco Rosas,” “Sin Sentimiento,” “Amores Como El Nuestro,” and many others of its kind.

It is worth adding that Sebastián comes from a family of musicians, starting with his own father, Yeneca Natal, who was the musical director and pianist for Grupo Sensación. Music always surrounded him, so it can be said that he was meant to follow this path.

Sebastián and Yeneca Natal — Sebastián Natal next to his father Yeneca Natal

When and why Sebastián left Uruguay and moved to New York

In 2005, at just 21 years old, Sebastián joined the Sonora Borinquen, which was the most popular orchestra at the time. Thanks to them, he had the opportunity to tour the United States and Canada, where he could see environments and ways of working that were completely different from what he was used to. Two years later, he toured the United States again, but by then he already saw the country as a new destination to advance his career.

Unfortunately, Uruguay was becoming too small for the plans he had for his development in salsa, which sparked his curiosity about the Big Apple and all it had to offer him musically speaking.

By 2008, he decided to move to New York for a few months, but so many doors opened for him that he never left and continues to live there to this very day.

Sebastián, the multi-instrumentalist

The first instrument Sebastián came in contact with was the piano, which he started playing it at age four and from which he graduated at age 11. Since he had not attended high school yet, he could not study a master’s degree to continue his musical education. In addition, he was a child who wanted to play football and do the usual things for his age, so a few years later, his father made him join an Afro-Uruguayan music group. In that orchestra Sebastián played piano and bass, which allowed him to further develop his skills with those instruments.

Sebastián in Panama — Sebastián Natal in Panama City

After that, he began to create his own tropical music band, inspired by the Venezuelan orchestra Los Adolescentes. All the members were minors, and, as well as in the previous group, Sebastián also played piano and bass.

Sebastián as a producer and composer

Regarding his role as a producer and composer, Sebastián confessed that he has no idea how he came to learn these areas of music. He did emphasize that he always lets his music and his feelings flow to deliver the message he wants to convey in each of his pieces. After that, he defines the ideas and adds the music.

He says he greatly admires professional lyricists and composers. He admits he is neither the best nor the worst composer, but he always tries to reach his own heart to convey what he feels.

Sebastián Natal Y Grupo Sensación

The idea of Grupo Sensación started with the orchestra of the same name where his father worked in 1982, but unfortunately the group did not have much impact due to how closed that environment was at the time. There were a number of orchestras that got the best contracts, and it was very difficult for the rest to achieve. Over time, Yeneca left Grupo Sensación and managed to join several of these more established orchestras to gain more reputation.

Soon after, when Sebastián moved to the United States, he almost immediately noted that the Uruguayan community needed a tropical orchestra, but he did not know what name give it. With the passing of his father on October 19, 2010, he chose to use the name “Grupo Sensación” as a way to continue the legacy of his father and the tropical movement born in his country so many years ago.

Sebastián and Pedrito — Pedrito Martínez and Sebastián Natal on stage

Artists he has collaborated with

Sebastián has had the opportunity to collaborate with artists of the stature of Nino Cegarra, Oscar D’León, José Alberto “El Canario,” Domingo Quiñones, Tony Vega, Roberto Blades, Cheo Feliciano, Tito Nieves, Viti Ruiz, and many more. However, few were the ones with whom he has truly been able to have a conversation or a close connection beyond purely profesional relationships.

“You can only say you played with someone if you’ve had a connection with that person. I’ve been able to play with great artists, but many times they don’t even know who I am. That’s why I don’t include them on my resume. Now if they call you back, then you can say you did things very well and that there’s someone really interested in you,” said Sebastián on this interesting subject.

The cases of Bill Murray and Camila Cabello were completely different, as he managed to record songs with them through his friend and fellow musician, Pedrito Martínez, whom he describes as “the best percussionist in the world”. It was also Martínez who connected him with the world-famous composer and guitarist Eric Clapton, with whom he performed at the American Airlines Center in Dallas—one of the most beautiful experiences he has had in his career and his life in general.

Rey Ruíz visits the Salsa Museum and talks about his prolific career

The Salsa Museum is celebrating the tremendous and valuable support of Cuban singer-songwriter Reinerio Ruíz Santiago, known to the world as Rey Ruíz, whom I had the pleasure to interview along with El Rubio Boris on our show Salsamania.

The artist was not only in our facilities to tell us important details about his career and share some of his time with us, but he also granted us the honor of gifting us one of the suits he used to wear for several of his most important shows. We are very grateful for the distinction he has made with us, and now let us mention some of the most important topics we discussed with the salsa singer.

Rey posing for the camera — Cuban singer-songwriter Rey Ruiz posing for the camera

Rey’s life in Cuba

Rey sang since his childhood to the point that his parents said he sang songs without words and started imitating the sounds his father taught him. He began to study music in sixth grade in his native Cuba, but his interest went far beyond simple childlike curiosity, so his parents enrolled him at the music conservatory in Havana so that he could have a more formal training.

Soon after, he appeared on Cuban television and sang for the orchestras “La Riverside” and “Los Dadas” at the then Habana Hilton.

Rey’s beginnings in music

Among many interesting things, Rey told us that he left his country at the age of 24, turned 25 in Miami, and arrived in Puerto Rico at 26. Shortly after arriving in Miami, he took a salsa demo to a record label, since Puerto Rican salsa was experiencing a long boom at the time, so they advised him to choose that genre.

Then, he got down to work with his producer Toby Villarini, recently deceased, to create the album.

Following the success obtained, the record label asked him to move to Puerto Rico, where they got him an apartment for about six months so he could make a life there and focus on his music. He then began working with musical director Guillermo Calderón’s orchestra, until Rey felt confident enough to say that the orchestra was his about a year later.

In 1994, he released his second album ”Mi Media Mitad” and the cover includes a very young Rey on a mountain of salt posing for the camera in a beige outfit and with a big smile on his face. The arrangements were made by Ernesto Sánchez, who also passed away recently at a very young age.

What Ray Ruiz is doing now

When El Rubio and I wanted to know what Rey is doing now, the singer confessed that he had chosen a career in which work never ends and that always makes him seek progress. “You’re always looking for ways to produce something new and show people what you’re doing at the recording and show production level.” In fact, the day after the interview, on February 14, he had a concert to celebrate Valentine’s Day at the Lehman Center for the Performing Arts in New York City.

Johnny and Rey — Johnny Cruz and Rey Ruiz at the Salsa Museum

He told us that it was the first time he performed as a solo artist at this venue, something he wanted to do for many years and finally got it. Never before has he performed in New York without the company of another artist or orchestra, so he was very happy and excited about living that new experience in his career.

Opinions about the Salsa Museum

Rey Ruiz had to leave soon to make final arrangements for the next day’s show, but we could not let him go without asking for his honest opinion about the Salsa Museum. When we asked him, he told us that he loved the place and that seeing what the museum exhibits was like seeing history. The history of salsa and all the artists who have been part of that genre. He also said that being here was like going to school because, even he who has been in this business for so many years, he has learned a lot from what he has seen.

He concluded by saying goodbye and thanking us for the opportunity to share with us and be on our platform.

“Sonido Bestial Sinfónico” solidifies classical sound in salsa

The February 27, 2026, performance of Sonido Bestial Sinfónico, which reunited “The Kings of Salsa,” Richie Ray and Bobby Cruz, at Puerto Rico’s Coca-Cola Music Hall, served as a farewell for Bobby Cruz. With a sold-out crowd thanks to Alexandra Fuentes’ production and a promotional alliance with the radio station Salsoul the legendary salsa vocalist said goodbye to the stage, insisting that while death had come looking for him, it had taken Willie Colón instead.

During Sonido Bestial Sinfónico, the audience also celebrated the 81st birthday of virtuoso pianist Richie Ray (born February 15) and the 88th birthday of singer Bobby Cruz, who celebrated his birthday the day before the event. Midway through the performance, the duo took a moment to blow out the candles on a cake brought onto the CCMH stage.

The concert was conducted by maestro Cucco Peña, featuring the voice of Yanira Torres and the Philharmonic Orchestra of Puerto Rico. From the local salsa scene, standout musicians included timbalero maestro Edwin Clemente, Emanuel Navarro on congas, and Richie Carrasco on bongo and cowbell, alongside the essential bass swing provided by Edwin Morales, director of the Orquesta Mulenze. Richie Ray’s wife, Angie Maldonado, and Jerry Medina were featured on backing vocals.

This symphonic concert, which celebrates more than six decades of “The Kings of Salsa” in music, had been postponed from its original date of October 25, 2025.

The repertoire included major hits popularized by the duo that have become classics of tropical music. Following a symphonic medley opening, the setlist included “Sonido Bestial,” “Agúzate,” “Richie’s Jala Jala,” “La Lluvia,” “Míster Trumpetman,” “El Diferente,” “Mi Amigo Juan,” “Yo Sé Que Te Amo,” “La Zafra,” “Juan en la Ciudad,” “A Mi Manera,” and a reprise of “Sonido Bestial,” among others.

The performance on Friday, February 27, 2026 of the Symphonic Bestial Sound concert that reunited "The Kings of Salsa", Richie Ray and Bobby Cruz — The performance on Friday, February 27, 2026 of the Symphonic Bestial Sound concert that reunited “The Kings of Salsa”, Richie Ray and Bobby Cruz

The show’s pinnacle featured Cucco Peña singing “Idilio” alongside Norberto Vélez in a heartfelt tribute to the late Willie Colón. The conductor acknowledged that figures like Willie Colón have made it possible for Puerto Rico to hold an important place on the global stage, affirming that “music is the face of Puerto Rico to the world.”

Richie Ray interjected a segment in which he shared his testimony of conversion to Christianity, extending an invitation to anyone who wished to join the ministry he now leads as a pastor. During this segment, the song “Hombres de Valor” was performed.

Another significant moment occurred when Bobby Cruz sang “La Novia,” clarifying that he is “free, but not available.” In addition to the hits achieved during the duo’s monumental and historic musical career, Richie Ray led several classical music pieces adapted for salsa.

The Coca-Cola Music Hall in Puerto Rico served as Bobby Cruz's farewell concert. It was a sold-out show. — The Coca-Cola Music Hall in Puerto Rico served as Bobby Cruz’s farewell concert. It was a sold-out show.

The patriotic finale featured the performance of “Mi Bandera,” which served as a farewell from both Richie and Bobby to the island, as both artists reside within the Puerto Rican diaspora in the continental United States. Events of this magnitude are what give deep meaning to maestro Cucco Peña’s statement: “Music is the face of Puerto Rico to the world” within the universal musical scene.

Also Read: Don Perignon and La Puertorriqueña Release Classique et Savoureux