Artists

Jairo Varela Music, Identity, and Social Narrative

The BE MORE publishing house is proud to announce the release of the new book by journalist and music researcher Robert Téllez M.

The work offers a deep dive into the social and narrative dimensions of the compositions of Jairo Varela, founder of the world-renowned Grupo Niche. It illustrates how his lyrics transcend music to become chronicles that interpret Latin American reality.

More than just a repertoire of songs, Jairo Varela’s legacy serves as a testament to memory and identity, born from his profound Afro-descendant roots. From this perspective, the book develops a discourse analysis that explores the symbols and meanings structuring his lyrics within a historical and social context.

Categorized within the field of ethnomusicology, the literary work proposes a rare perspective in Salsa studies: understanding Jairo Varela as a narrator of social reality.

“Through his lyrics, Jairo Varela challenged indifference, exposing what many preferred to keep silent,” states author Robert Téllez M.

To develop this research, the author brought together an interdisciplinary team of specialists in anthropology, communication, law, education, history, linguistics, music, journalism, and poetry from across Latin America. This diversity shapes a study organized into seven chapters, where symbols, metaphors, and narrative structures within Varela’s songwriting are analyzed and deconstructed.

“With an honesty that never yielded to artifice, Jairo Varela mapped the social landscape of everyday life; he narrated the intimate without betraying the collective, all in an effort to better understand the world,” Téllez notes.

As an innovative feature, the book Jairo Varela: Music, Identity, and Social Narrative incorporates QR codes that lead directly to Maestro Varela’s compositions. Each code allows the reader to use their mobile device to access the songs analyzed via Grupo Niche’s profile on Spotify, enhancing the connection between the written word and musical creation.

The publication also includes a prologue by writer Bella Martínez, illustrations by Frank Rosado, and photographs from the Varela family archive—elements that provide essential context to the composer’s creative universe.

Jairo Varela: Music, Identity, and Social Narrative is now available to the public on Amazon, with worldwide shipping.

The Book: Jairo Varela. Music, Identity, and Social Narrative

Jairo Varela (1949–2012)

Varela was the creator and founder of the iconic Grupo Niche and one of the most influential figures in Colombian Salsa. It was Jairo Varela who built the prestige of this orchestra through his artistic vision and his talent as a composer and director. With those five letters Niche Varela changed the course of Salsa made in Colombia, elevating it to a level of international respect.

Jairo Varela. Música, Identidad y Narrativa Social

Throughout his musical career, Jairo Varela wrote hundreds of songs and produced dozens of albums for his group. His compositions including “Cali Pachanguero” (recognized by Billboard magazine as one of the 50 most important songs in the history of Latin music), “Buenaventura y Caney,” “Mi pueblo natal,” “Ana Milé,” “Un caso social,” and “Han cogido la cosa” have traveled the world and become classics. In his lyrics, Varela portrayed everyday Latin American stories and the identity of Afro-descendant communities.

When Grupo Niche’s music plays, there is something for every listener. Behind that diversity lies the creative intuition of Jairo Varela, a composer who knew how to turn local stories into universal emotions. For this reason, from its beginnings in the late seventies to its international acclaim, the group has brought the rhythmic power, joy, and character of its culture to stages worldwide.

About the Author

Robert Téllez M. is a social communicator, radio and TV broadcaster, and producer with over 20 years of experience. He is an accomplished interviewer, journalist, and music researcher.

His analyses and reflections have been published in outlets such as Revista Semana, El Espectador, El Tiempo, El País, La República, and Agencia EFE, among others. He has also contributed to the scientific journal Nómadas of the Universidad Central de Colombia.

Robert Téllez is also the author of Ray Barretto: Giant Force (2016), whose English translation won a silver medal for Best Translation (Spanish to English) at the 2021 International Latino Book Awards.

In 2019, he presented the authorized biography Willie Rosario: The King of Rhythm, with a second edition released in 2024. He served as a judge for the annual international minimalist poetry contest for the anthology titled Siglema 575: Say What You Want to Say (2024).

As a result of his extensive research, Robert Téllez serves as a consultant and lecturer on topics related to the appreciation of Salsa music.

Press Contact: [email protected]

Also Read: Willie Rosario, El Rey del ritmo by journalist and music researcher Robert Téllez M.

Puerto Rican bandleader and musician Diana Sosa talks about her many projects in Nashville, Tennessee

We had a wonderful and very nice conversation with Puerto Rican percussionist, timbalera, conga player, and cuatro player Diana Sosa, who kindly told us about all the projects she has in the pipeline. Her husband and bandmate, guitarist and vocalist Chuck Nelson, put us in touch with her so we could learn more about both the project they share and the one she has undertaken on her own.

Then these are the things the talented Puerto Rican shared with us on this warm Sunday before Easter.

Diana Sosa is playing — Diana Sosa is posing for the camera while playing the timbales

How Diana got into the world of music

Diana was born and raised in Puerto Rico, where she began to love music and play, but not professionally yet. She was just experimenting with some traditional instruments of her homeland, such as the Puerto Rican cuatro, which she even studied with a private teacher.

At the age of 39, she moved to Nashville, Tennessee, where she finally got her first big opportunities in music, and the background she brought for years helped her a lot. It all started with a short rehearsal she was invited to, and from there, she has done nothing but prove what she is really made of.

Of course, she keeps studying and preparing to improve every day. When she is not learning to play with fellow musicians like John Santos, she is taking online courses to solve any doubts she may have.

Diana’s first opportunity with The Bicho Brothers

The first serious group that gave Diana the opportunity to develop professionally—and with which she keeps to playing to this day is The Bicho Brothers, a classic rock band whose members really appreciated the contribution provided by Diana. For this reason, it is she who brings that Latin flavor, the product of her heritage and years of training in these genres.

Something that really attracted the audience was that she was the only woman in the group and, incidentally, she played the timbales, which was uncommon back then. In addition, she added atypical sounds to certain well-known songs, which was also remarkable.

Diana Sosa and the rest of the Bicho Brothers — The Bicho Brothers from left to right: Jeff Krinks (guitar and vocals), Ron Krasinski (drums), Diana Sosa (timbales, congas, percussion, and Puerto Rican cuatro), Chuck Nelson (guitar and vocals), and Kenny Zarider (keyboards and vocals)

Another important personality who encouraged her to follow this route was the great producer Bill Cuomo, who told her she was very good at playing but needed to improve her technique. Twenty years later, it can be said that she took him at his Word seeing all she has achieved since then. From that point on, there have been many other projects and opportunities that make her very happy and keep her fulfilled.

Soul Sacrifice

Soul Sacrifice is a Santana tribute band founded in 1969 that has won a high reputation in Nashville by becoming one of the best tributes to Santana to date. The mix of familiar melodies and infectious rhythms they play at every show transports audiences to the biggest classics of the legendary Latin rock group created by Carlos Santana.

The band also includes some of the same members of The Bicho Brothers, such as the cases of Diana and Chuck due to all the years they have spent playing together, but including Cuban musician John Santos. He plays a fundamental role in making people feel they are listening to the original Santana rather than an imitation, which is why both he and Diana are key to the band’s performance.

Diana’s Mambo Maniacs

Diana also has her own project, which she decided to call Diana’s Mambo Manics. This Latin music group was founded in the early summer of 2025 as part of Hispanic Heritage Month. In that time of year, there are always many festivals dedicated to Hispanic and Latin music in the United States and around the world, so Diana and a group of musicians she had been in contact with for some time took the opportunity to play wherever they were able to make themselves known.

Among some of the musicians in the band we can mention John Santos as singer and timbalero, whose presence is essential at every show. The group also includes conga player Josvany Cordero, bassist Isoel Villareal, pianist Kenny Zarider, trumpeter Joe Mercado, and trombonist Huge Lindsay.

The main difference between this band, The Bicho Brothers and Soul Sacrifice is that it plays exclusively Latin music, but of the great artists in the 1950s and 1960s who performed at the Palladium Ballroom, the Copacabana, El Corso, Chez José & 3 and 1, among many others. Diana feels that, to a certain extent, she pays tribute to her parents, who used to go dancing and enjoying these rhythms to some of these places in their youth.

However, not all are covers. She is about to release an original song featuring Puerto Rican cuatro player Prodigio Claudio, but she did not have the details to share with us yet.

Diana and Tito Puente Jr. — Diana Sosa Playing with Tito Puente Jr.

Paoli Mejías A Talent Forged in the Streets and Discipline with a New Sound in Latin Jazz

From legendary sideman to the leader of a limitless musical vanguard.

Paoli Mejías is a pivotal figure in the evolution of contemporary percussion, renowned for his seamless fusion of Latin jazz with masterful conga technique.

Paoli Mejias: From accompanying legends to leading a musical vanguard without borders

While he is an exceptional multi-percussionist, his command of the congas has established him as one of the most in-demand soloists in the world.

He is distinguished by a melodic style; he doesn’t just keep time he makes the drums “sing,” utilizing precise tuning and astonishing speed.

After touring the globe alongside icons such as Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea, and Marc Anthony, Mejías has solidified his status as an international benchmark. His vast musical, folkloric, and cultural knowledge positions him today not only as a percussion virtuoso but as a visionary leading his own quintet.

With a career marked by success, Mejías has produced three high-caliber independent albums: Mi Tambor (2004), which received a Latin Grammy nomination, Transcend (2006), and Jazzambia (2008).

Paoli Mejías, a talent forged in the streets and through discipline

These works have placed the Puerto Rican percussionist at the forefront of the genre, earning glowing reviews in the world’s most influential publications, including JazzTimes, DownBeat, Jazziz, and Modern Drummer.

A Talent Forged in the Streets and Discipline

Born in Río Piedras, Puerto Rico, on March 7, 1970, Paoli discovered his calling at the age of twelve. Inspired by the records of Carlos “Patato” Valdés and Ray Barretto, and the innovation of groups like Batacumbele and Irakere, he bought his first conga and began a self-taught journey.

Without formal teachers, he learned the language of percussion by mimicking the sounds emanating from his favorite vinyl records.

Paoli Mejía with Nuevo Sonido en el Jazz Latino

His true training took place in the effervescent musical atmosphere of San Juan, absorbing the styles of his mentors in street rumbas.

His professional debut came via Rafú Wagner (former vocalist for Bobby Valentín), and while still a teenager, he was already collaborating with renowned local artists such as José Nogueras, Glenn Monroig, and Charlie Sepúlveda.

The Leap to the Global Stage

His impeccable technique and melodic sensitivity quickly made him the preferred sideman for the greats. For over eight years, he was a key member of maestro Eddie Palmieri’s orchestra, recording on historic projects like Masterpiece/Obra Maestra (with Tito Puente), which won a Grammy Award.

Paoli Mejías is a fundamental figure when discussing the evolution of contemporary percussion

His discography now exceeds 20 commercial productions, including the nominated Acuarela de Tambores.

This exposure to world music enriched his creative fire. As Elmer González noted in Latin Beat: “Through Mi Tambor, Paoli achieves a watercolor of rhythms and textures that make this album one of the best Afro-Latin jazz productions released as a leader, and he aspires to continue a career forged on the stages of the world’s most important festivals.”

Beyond the Traditional Genre

Today, Paoli Mejías’ group offers a style that transcends labels. His proposal fuses the “Salsa Gorda” of the big orchestras with Puerto Rican bomba and plena, incorporating nuances of Greek, Flamenco, Indian, and African music. The result is a vibrant experience where the audience ceases to be spectators and becomes participants.

His versatility was cemented at the Heineken Jazz Festival, where critics highlighted his absolute mastery of minor percussion, timbales, bongos, and ethnic instruments like the Nigerian Udu, hailing him as one of the most complete percussionists of our time.

Paoli was there: Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea and Marc Anthony

Beyond his role as a performer, the “Maestro” shares his knowledge by conducting clinics at prestigious institutions such as the University of Washington, the University of New Mexico, and the Puerto Rico Conservatory of Music.

Sponsored by leading brands like Latin Percussion and Sabian, Paoli Mejías continues to elevate the legacy of Latin jazz into exciting new dimensions.

Member of Santana

Paoli Mejías is a world-renowned percussionist who was a member of the band Santana, led by Carlos Santana.

Joining Santana: Paoli joined the group in 2013, taking over the conga chair. His arrival brought an impressive technical energy and rhythmic depth, establishing him as a fundamental piece of the band’s world tours for several years.

Source: Paoli Mejías

Photos: Paoli Mejías Archives / © Martin Cohen

Also Read: Carlos “Patato” Valdés: One of the Greatest Percussionists in Latin Jazz History

Actress, comedian, and singer Carmen Nydia Velázquez tells us about the best of her career

Through a very kind friend of our editor Eduardo Guilarte, María del Carmen, we have been fortunate to make contact with the extremely talented Puerto Rican actress, comedian, and singer Carmen Nydia Velázquez, with whom we had the opportunity to talk with for our report on Bad Bunny’s Super Bowl halftime show.

It turns out that her career is so fascinating that we obviously had to talk to her and know much more about her artistic journey, both in her native Puerto Rico and abroad. Without further ado, these are the highlights of our conversation.

Carmen Nydia cantando — Carmen Nydia Velázquez singing live

Carmen’s education and start in acting

When it came to her academic background, theater always caught her attention, but she also loved to sing. These tastes led her to study drama at the University of Puerto Rico, where she brought out her histrionic talent and showed just how good she would be at doing comedy in the future.

Even before graduating, she already worked in theater and appeared in Francisco Arrivi’s play *Vejigantes*. At that time, she was in her last academic year, and the play was a tribute to the great Puerto Rican actress Lucy Boscana, who had died back then. For many years, Boscana played the character of Toña, and Carmen did the same when it was her turn in this new version, which had so much impact that it led to a film based about the same story.

Then, in the 1970s, she joined the musical group Moliendo Vidrio, led by Gary Núñez, and was there for about 11 years, while doing theater and television. The group took up a lot of Carmen’s time and was part of the New Song movement in those days.

Kiosko Budweiser and Susa Cruz

In 1983, Carmen first portrayed who is still considered one of her most iconic characters to this day, Susa Cruz. Channel 7, known at the time as Teleluz, first aired the comedy segment Kiosko Budweiser, featuring the beloved Susa alongside other iconic characters such as Epifanio, Johnny El Men, Humberto, and El Negrito.

Carmen Nydia and Victor — Carmen Nydia Velázquez (Susa) and Víctor Alicea (Epifanio)

When Teleluz ceased to exist, Carmen took a break from the character to continue her theatrical activities and start singing professionally. However, later, Channel 4, Guapa Televisión, called the actors back to do the segment again, which is when it became a media phenomenon and gave immense fame to the characters, especially Susa and Epifanio.

The high popularity of the show and its stars made them appear on TeleOnce, which continues to air today, and Telemundo, where they are recurrent figures during the regular programming.

People enjoyed Susa and Epifanio so much that they have even hosted a radio show, and both Carmen and Víctor Alicea (Epifanio) will soon celebrate their 38th anniversary as an artistic couple, though they have not yet decided what to do for that day.

Tiempo de Cantar

By the late 1990s, she released an album of boleros titled “Tiempo de Cantar,” which was her first solo production. It all started with a show by Susa and Epifanio in the south of Puerto Rico, where they met a musician friend of hers named Cacho Montalvo.

He has spent many years urging her to go back to singing, but she ws not entirely sure due to all the professional commitments she already had, added to the fact that she did not have very fond memories from the time in which she had to promote her own music of the New Song movement which, being so traditional, did not receive the media coverage it deserved. This killed Carmen’s enthusiasm, as she took for granted that she would never sing professionally again.

However, Montalvo and Carmen’s husband “conspired” to some extent to convince her, and they succeeded. On the album, the artist pays tribute to the songs she grew up with and used to hear on the radio as a child, achieving a result she loved.

Carmen Nydia and Oscar — Carmen Nydia Velázquez y Oscar D’ León

Her solid background in theater gave her the ability to convey her feelings through her voice and expressions, which made her have a wide acceptance. In fact, she is now a member of the Music Hall of Fame in Puerto Rico, a venue dedicated to romantic and bohemian music that hosts live events featuring artists associated with those genres.

Hacienda Susa

Among the many projects she was involved in, Carmen also ran a restaurant and activity center called “Hacienda Susa.” She describes this stage of her life as interesting, yet exhausting and demanding at the same time.

Due to the success she had on television, the project did very well, so she and her team were there doing shows for visitors from all over the island practically every day. The problem was that it was too much work for her at the time, and she told us that sometimes, she had to leave the hacienda to perform a show outside, return to meet her commitments there and then close the venue.

The above, added to the fact that everyday fewer people were coming to the venue and the extremely high rent Carmen had to pay, made her ask herself if it was really worth continuing with the project in exchange for those dividends. That was when she finally got tired of it and decided to close the venue indefinitely to focus on what she was truly passionate about: acting.

Album by Carmen Nydia — Cover of the album ”Tiempo de Cantar” by Carmen Nydia Velázquez

Profile of Raimundo Elpidio Vázquez Lauzurica: The Guardian of the Rhythm in Sonora Matancera

The heir to a musical dynasty that defined the sound of the “Dean of Latin Ensembles”

On March 15, 1934, the Jesús María neighborhood in Havana saw the birth of one of the most solid figures in Cuban syncopation: Raimundo Elpidio Vázquez Lauzurica. Known worldwide as “Elpidio Vázquez,” his destiny was written between the strings of a double bass and the mystique of Cuba’s most iconic musical group.

As the son of the legendary Pablo Vázquez Gobín (“Bubú”) and the older brother of master pianist Javier Vázquez, Elpidio did not just inherit an instrument he inherited a historical responsibility.

His formal connection with Sonora Matancera began in 1952, when he started subbing for his father. It didn’t take long for his talent to secure him the permanent spot, becoming the rhythmic backbone of the institution until the end of his career.

Legacy and Musical Contributions: Beyond the Double Bass

Elpidio Vázquez was not just a performer; he was a sonic architect. His ability to maintain a precise tumbao allowed Sonora Matancera to preserve that unmistakable harmonic signature that captivated the entire continent.

In addition to his technical prowess, Elpidio shined as a composer, contributing tracks that became essential hits:

“Le dio con la sartén”: A guaracha recorded by the “Flaco de Oro” (The Golden Thin Man), Celio González, in late 1959.
“La negrita inteligente”: A gem performed by the Queen herself, Celia Cruz, in 1961.

His versatility led him to explore other musical horizons. He participated in the vibrant Cuban descarga (jam) sessions alongside Osvaldo “Chihuahua” Martínez and collaborated on historic recordings with giants of salsa and bolero, such as Ismael Rivera, Daniel Santos, Johnny Pacheco, Justo Betancourt, and Roberto Torres.

The Double Bass: Unlike many bassists of the salsa era who quickly transitioned to the Baby Bass or the electric bass, Elpidio is remembered for his mastery of the acoustic double bass, maintaining that organic, deep sonority of traditional, evolved Cuban son.

Recognition and Saying Goodbye to the Stage

One of the most memorable chapters of his career took place in 1989, during the 65th-anniversary celebration of Sonora Matancera. Organized by Gilda Mirós, Elpidio rocked world-renowned stages like Carnegie Hall and New York’s Central Park, reaffirming the band’s timeless relevance.

Career with Sonora Matancera

The Historic Handover: In 1952, Elpidio took on the responsibility of replacing his father on the double bass for Sonora Matancera. This was no small task, as he had to maintain the characteristic tumbao that had defined the group’s sound for decades.
Sonic Signature: He is credited with imprinting a robust harmonic stamp and a rhythmic stability that allowed Sonora to back the biggest stars of the era (Celia Cruz, Nelson Pinedo, Bienvenido Granda, etc.) with flawless precision.
Exile and Continuity: Like the rest of the group, he left Cuba in 1960, continuing his career abroad and participating in Sonora’s prolific New York era and their international tours.

A historical footnote: After the death of Rogelio Martínez, it is said that Elpidio was designated as the group’s musical director by public deed. However, in a gesture of humility and after decades of dedication, he preferred to retire in New Jersey, letting his brother Javier take the helm for the orchestra’s new era.

Today, the figure of Elpidio Vázquez remains a symbol of artistic fidelity and musical excellence the bridge between the tradition of “Bubú” and the modernity of New York salsa.

Also Read: La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”