Artists

What Adalberto Santiago represents for Latin music

Our great friend Adalberto Santiago is one of the biggest references of Latin music despite his long career, so it is always appropriate to remember the greatest moments of his career. Today, he is experiencing some health difficulties, so we hope he enjoys this article and it makes him feel better.

This is Adalberto Santiago — This is Puerto Rican composer and singer Adalberto Santiago many years ago

Adalberto Santiago’s beginnings in music

Adalberto Santiago Berríos was always possessor of an extremely powerful and deep voice, making him a lyric tenor and one of the best performers of Afro-Cuban music in the United States. Some of his most important influences from an early young age were Miguelito Cuní and Benny Moré, who served as a source of inspiration for what was to come in his future career.

The artist began in music by lending his voice to trios and playing the guitar and bass, although he often accompanied these activities with some dance steps. In the eyes of many, this makes him one of the first singers to play, dance, and sing in the same concert. In addition, in this early stage of his career, he was nicknamed “The Latin Elvis Presley” due to his tall stature, thick hair, blue eyes, and elegant demeanor.

Turning point in his career

After having had the opportunity to play with great orchestras at the time, what really made his career take off was his joining Ray Barretto’s Orchestra, prompting him to go international with albums such as “Acid” and “Rican Struction.” These albums continue to be a reference for salsa and Latin music fans in general.

Johnny and Adalberto at the museum — Johnny Cruz and Adalberto Santiago at the Spaha Salsa Museum in New York

Some time later, Santiago and other members of the aforementioned orchestra created La Típica 73, but unfortunately time did not pass much when the artist and some of his colleagues split up again over religious differences with the rest of the members and founded Los Kimbos on their own. Along with this group, of which he was the lead singer, he recorded ”Los Kimbos” and ”This Big Kimbos With Adalberto Santiago” in 1977, the year in which he dared to release his first solo album called ”Adalberto”.

One interesting thing about that album is that it was produced by Ray Barretto, who contributed two of his compositions to his old pupil.

Solo career

From 1977 onwards, everything that came for Alberto was nothing more than success and recognition. One of those great successes was his famous participation in “Hommy, A Latin Opera,” a work produced and directed by Larry Harlow, which was an assured stamp of excellence. Soon after, he was asked to be one of the lead singers for “Louie Ramírez y sus Amigos.” He co-produced the song “Adalberto Featuring Popeye El Marino” with Ramírez and joined Barretto on “Rican/Struction.”

In the 1980s, Adalberto and Roberto Roena came together to release ”Super Apolo 47:50”, which included songs such as ”Yo Tenía Una Mujer” and ”Vigilándote”. Around the same time, he also co-produced the album ”Calidad” with Papo Lucca, who was also very involved in the musical direction.

Adalberto and Johnny en un homenaje — Adalberto Santiago and Johnny Cruz during a tribute to the Puerto Rican singer

Another international explosion of popularity

Another milestone in his career was his salsa version of the classic “Sex Symbol,” which has since become a cult album for fans from many countries, including Colombia, Peru, and Venezuela. It turned out to be one of the most successful albums of his entire career and practically established a new style known as “salsa monga.”

The composer has also written songs for albums in which he himself has been involved as both a bandleader and singer, and his success has in no way prevented him from staying true to his Latin roots.

Adalberto Santiago’s current situation

We have learned that Adalberto Santiago was about to participate in a tour which aimed to pay tribute to him and other participants, but due to some complications with his health, this concert series will not be able to take place for the time being.

From International Salsa Magazine, we are very sorry for this situation, and the entire team hopes that this living legend of music will be able to get out of this situation and continue to give us joy with his talent.

Music reviewer and photojournalist Ricky Ricardo describes his work from the last 35 years

Ricky Richardson, better known as Ricky Ricardo, is one of those important figures who should be taken notice of for his significant contribution to Latin music, even if it is often not quite appreciated by the public. The Tampa-born photographer, writer, and music reviewer has honoured us by talking about his career and experience covering events related to Latin culture and music, so we invite our readers in the beginning of the year to enjoy the revelations of our talented guest.

Ricky Richardson at the festival — Ricky Richardson at the New Orleans Jazz & Heritage Festival entrance

How Ricky got started in the coverage and review to Latin music and cultural events

First of all, Ricky thanked us for the interview and went on to tell us that he started as a photographer for a local newspaper called California Crusader News. Over time, his superiors asked him to start writing articles to accompany his photographic work, resulting in music reviews based on his attendance at numerous events and festivals throughout Los Angeles and beyond.

His work also included meetings with newspaper and magazine publishers who were always searching for content for their own publications, which led Ricky to send reviews and photos to all kinds of publications.

Major publications Ricky has worked with

Among the most important publications Ricky has collaborated with is Latin Beat, which was the main means of communication related to Afro-Cuban music. The photographer met Rudy and Yvette Mangual many times at various concerts and festivals. They met backstage at the Hollywood Bowl during the Blue Note Jazz Festival, an event he covered just like all the artists who performed there.

He also covered events in other parts of the United States, such as the New Orleans & Jazz Heritage Festival and the French Quarter Fest.

Kathy, Lázaro, and Nelson. Photo by Ricky — Kathy “La Rumbera” Diaz, Lázaro Galarraga and Nelson Rodriguez (Photo by Ricky Richardson)

In the case of Vidasalsera, Ricky first heard that name coming out of a musician’s mouth at a Puerto Rican festival in Long Beach, where he often ran into Cal Sakaniwa, the photographer and videographer for this media outlet. That is when he reached out to the webmistress of Vidasalsera.com Dena Burroughs and began providing photo galleries for her website, even though they have never met in person.

What made Ricky fall in love with Afro-Cuban music

During his childhood and youth in Tampa, Ricky was very exposed to Latin music due to the large Cuban population living in the Ybor City area, and he and several of his friends used to frequent many places and stores where this music was played.

When the young man heard Afro-Cuban music for the first time on radio stations KACE and KKGO (nowadays known as KJAZZ) was a point of no return for him. His love for this kind of music was greatly strengthened by radio programs such as Alma Del Barrio, Jazz on the Latin Side, Canto Tropical, Groove Time, and Canto Sin Fronteras. Not to mention that many international artists were constantly giving concerts at venues and festivals.

Events covered by Ricky to date

Throughout his career as a photographer, Ricky covered a huge number of events, including the Long Beach Jazz Festival, Monterey Jazz Festival, Central Avenue Jazz Festival, Los Angeles Street Scene, San Diego Street Scene, Simon Rodia Watts Towers Jazz Festival, Watts Towers Day of The Drum Festival, Cuban-American Festival, Puerto Rican Festival, and many others.

When we wanted to know more about his experiences at these events, he replied that he felt very honored to have been able to share with established and emerging artists over the past 35 years. He also feels very lucky to have been able to witness such wonderful performances by artists who always greet him and spend warm smiles at him whenever they meet him.

Dionne, Monica, and James. Photo by Ricky — Councilwoman Dionne Faulk, Monica Bracho, Mayor James T. Butts Jr., Councilwoman, and Brendt Stallings, Chief Executive Officer & Chief Investment Officer-Inglewood Park Cemetery (Photo by Ricky Richardson)

Alma Del Barrio Fest 2025

Ricky told us that he had the honor of attending the first and second iteration of the Alma Del Barrio Salsa Festival, which took place at different locations at Loyola Marymount University. Future attendees got really excited about the current venue chosen by the organization to host the event, which is Lawton Plaza with its amphitheater, seating arrangement, abundance of grass, and the dance floor.

“I love the fact that many people get to meet and greet some of Alma Del Barrio Program Hosts (DJ’s) in person. I like the fact that Alma Del Barrio Salsa Festival attracts several generations of salseros, that are diverse, multi-cultural, and from all walks of life.,” Ricky said on the subject.

Why Ricky retired last year

Last year, Ricky finally made the decision to retire from music critics and photography after covering the Latin music scene for so many years in order to allow new generations of talented journalists to take over and keep Afro-Cuban music alive.

He is currently looking for opportunities to work in public relations and marketing for sporting events that will be held in the next three years such as the NBA All-Star Weekend, the FIFA Worzld Cup, the Super Bowl, and the Olympic Games.

The Cajón throughout history

The main artists who put on a show always get the lead on stage, but nothing much is being said about the instruments accompanying them, which are a fundamental part of music as we know and enjoy it. One of these is the cajón, which has a most interesting and a little bit controversial origin, so there are certain considerations to express this regard.

This is the cajón — This is how the cajón looks today

What is the cajón?

The cajón, also known as the Paruvian cajón or flamenco cajón, is a percussion instrument consisting of a wooden box on which the musician sits and taps with his fingers and palms to produce the desired sounds, whether bass or treble. On certain occasions, it is used as a substitute for the drum kit and has gained popularity in jazz, flamenco, and some Latin genres.

One reason it is so popular is because of its versatility, transportability, and ease to be played, even if the musician does not have much experience. Therefore, many prefer it to the drum kit, which is bigger and more cumbersome in certain cases.

Origins of the cajón

What is known about the origin of the cajón is that by the end of Spanish colonization, African slaves bound for America were not allowed to use their drums because the Catholic Church saw them as sinful and pagan tools. Not to mention that these prisoners also used these drums to communicate with each other, which is why the Spanish nicknamed them “talking drums.”

This led to the aforementioned instruments and several of their musicians being burned. Not to mention that slavers wanted to ban black songs that sent messages about slavery through their melodies.

By the early 1800s, there was absolutely no record that the drum had existed in what we now know as Peru, and any viceregal document mentioning it disappeared. However, there is evidence of the existence of the cajón from 1840, and it is believed that the first to use it were Afro-Peruvians.

fiesta de amancaes with the cajón — Painting by the German Painter Mauricio Rugendas on the occasion of the “Fiesta de Amancaes”

Afro-Peruvians encompass a collection of African ethnic groups who, unable to express themselves through music as they did before, had no choice but to find other instruments with which they could do so. They then saw wooden crates used to transport goods as a way to do percussion and thus continue to practice their sacred rites and play their music.

Initially, the cajones were used to play coastal and traditional dances to central and north Peru, which gradually popularized them. They also began to be used to play the “Fiesta de Amancaes,” which is a Limean festival held during the time of the Viceroyalty. This event usually brought together horse breeders, artisans, and bohemian musicians from the north and center of the country.

The arrival of the cajón in Spain

Many years later, specifically the year 1977, the cajón arrived in Europe. It was Spanish flamenco composer and guitarist Paco de Lucía who discovered the instrument during a tour of Latin America when he attended a reception hosted by the Spanish ambassador at the time. On that occasion, Paco heard Brazilian musician Rubem Dantas play it during a show by singer-songwriter Chabuca Granda, and he instantly realized that those sounds combined very well with flamenco percussion, which was always done with the palms, although it was not as consistent and precise as required. The cajón achieved this without a hitch.

It is for this that Paco decided to take the cajón to his country and only added some inner strings to adapt it and tinge its sounds, thus becoming one of the most important elements of a flamenco show today. Both Paco and Rubem decided to release it at an open-air concert at the Parque de Atracciones de Madrid of the Casa de Campo, and the Peruvian instrument was a resounding success, marking the beginning of its addition to flamenco guitarists’ shows.

At the time, Paco said that this contribution to flamenco culture in his country made him very proud and with good reason, as it was a great revolution that continues to bear fruit.

The cajón today

Today, the flamenco cajón has three screws that allow the musician to adjust the tone and a system of strings that gives the Peruvian version a different resonance and offers a range of many different sounds in which the musician’s body plays a very important role. The Peruvian version remains the most traditional of all because it gets no strings and its sounds are deeper, while the Spanish version incorporates strings or bourdons in order to make more tearing and vibrant sounds.

There are also more modern versions that include the use of drumsticks and pedals to expand their sound range a lot further.

Eduardo Herrera. The Man Behind Every Song – The Story of His Music

Latin America / Puerto Rico / Puerto Rico

“There’s a wide variety of artists, singers, and famous orchestras in different parts of the world, but that doesn’t mean you can’t discover new artists who have the motivation and desire to boost their musical talent. Here, we have as our guest Eduardo Herrera, a salsa and ballad singer.

Eduardo is the son of Puerto Rican parents, raised in New York with a ‘boricua sazón’ (Puerto Rican flavor/style). From a very young age, he fell in love with music, and over time, he gained many musical experiences in different genres with Latin nuances and foreign fusions.

He mentions that when he was younger, he participated in youth choirs on stages and attended concerts of great artists, learning the lyrics of urban music. As time passed, he captivated the perfect school that shaped his unique style; it includes spiritual music, Latin rhythms, and the influence of American styles without abandoning his Puerto Rican roots. He also mentions that he had the opportunity to share and collaborate with very famous artists who influenced him with their exceptional style and talent, even to this day.

Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.”

“Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

When you hear the melody, you fall in love; when you pay attention to the lyrics, you are captivated; when you listen to it again, you turn it into something that identifies you, regardless of your age, race, condition, or gender. It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.

Eduardo Herrera - El Amor — Eduardo Herrera – El Amor

In the course of his life, he mentions that it was a transition as he went through many positive and negative life experiences, which allowed him to gain different meanings for the emotions he felt, whether real or false. All these experiences helped him help others, such as in personal growth.

In ‘Salsa‘ and ‘Balada,’ he has found his perfect space to express what he carries in his life’s baggage. Hoping that many couples will have a happy life to the rhythm of his music. Eduardo told us, ‘To achieve that emotional catharsis that lifts you up from any tragedy, it is necessary to LOVE YOURSELF BEFORE LOVING SOMEONE.’ So remember that when you listen to Eduardo Herrera’s music: ‘LOVE YOURSELF BEFORE LOVING SOMEONE.’

Recognizing the value of an individual and appreciating their abilities while learning from mistakes, that is what defines every song you will hear from Eduardo. The message will arrive; it’s up to you for the outcome to be happy. Because you learn from the difficulties in the process, the final result depends on how you handle the ‘tests’ to qualify yourself in feelings for the life you choose to live.

If you wish to know more about him:

Facebook: https://www.facebook.com/eduardoherrerasalsa
Instagram: eduardoherrerasalsa
Email: [email protected]
Phone: 787 399 5064

Oscar D’ León. Confessions by Oswaldo Ponte by William Briceño Part II

Latin America / Venezuela / Caracas

“Continuing the musical biography of Oscar D’ León. He moved on to new horizons, new learnings, difficult experiences, and decisions, as life always holds a wide variety of surprises over time. One of those changes was his breakup with Dimensión Latina due to various internal group problems.

Photo 1: Oscar D' León — Photo 1: Oscar D’ León

Oscar’s departure caused issues for the group, as several of their scheduled performances in other countries were canceled, and over time, they lost audience, leading most of their members to split up and leave. Nevertheless, the group managed to carry on successfully but without the unique touch or ‘sazón’ that Oscar D’ León provided.

After leaving Dimensión Latina, Oscar ingeniously created La Salsa Mayor in 1976 and was able to release his first discography with his new group, thanks to the record label TH, which provided it because they were very interested in his new project, naming it ‘Con bajo y to’.’ From that moment, Oscar knew that he could consolidate himself with this group or any other, as his exceptional and unparalleled talents, so much originality, had never been witnessed”

“In any generation of Venezuelan artists. He also created another group called ‘La Crítica’ with the purpose that if any member of the Salsa Mayor Group was absent, one of them would substitute. However, the orchestra ‘La Salsa Mayor’ lasted only 4 years due to a strong disagreement Oscar had with his band on stage because the songs played during those two performances ‘were not accepted,’ leading to the closure of ‘Salsa Mayor.’ From that moment, he began to practice with his orchestra ‘La Crítica’ before his performances in Curaçao, where his songs, ‘Suavecito,’ ‘No ha pasado nada,’ served as a way to allude that everything had been overcome.”

“With this group, he achieved significant success. From that era, Oscar D’ León was known as the leading artistic figure in the country and on the American continent, with his music being heard in various homes in Venezuela and other Latin American countries. During that time, he traveled throughout the Latin American continent, the Caribbean islands, and the United States. From that moment, he leveraged his figure as he ventured into artistic promotion. He did so with Daniel Santos, Héctor Lavoe, El Gran Combo de Puerto Rico, and Celia Cruz.

If we have to mention which country Oscar liked or idolized the most, it was Cuba, because ever since he was very young, he loved the music played there, which over the years underwent various transformations in different stages, such as ‘La inmortal guaracha Celia Cruz’ which brought glory to the island; ‘la sonora Matancera’ carried the name of Martí’s land around the world; ‘Dámaso Pérez Prado,’ among other artists who contributed to the origin of Cuban music.”

“When Oscar D’ León first visited Cuba, it was an unforgettable experience and held extraordinary significance not only for the young artist but for the country itself. Its magnitude was such that, first and foremost, the ministers of culture and foreign affairs welcomed him, and every time he performed, large numbers of fans awaited to see and hear him. The respect and admiration for him were immense. In fact, this book mentions that ‘Cuban music,’ among other things, made Oscar D’ León’s existence as an artistic figure and as a person possible.”

Photo 2: Oscar D' León presenting his bibliography — cccc

“For Cubans, Oscar D’ León’s arrival had a profound effect; it was the rebirth of existing music. In short, he rescued it, causing Cuban music, ‘son,’ the central show, and entertainment venues to become their activities for relaxation and fun.

Oswaldo Ponte, in his research, mentions that when he looked for everything related to Oscar D’ León, there was immense admiration for him. Everyone he interviewed, even if they knew he was his manager and his biographer accompanied him, always said incredible things about Oscar. He not only rescued Cuban ‘son’ but also taught them to dance Cuban music, opening the minds and perspectives of Cubans, as Cuban ‘son’ continued to be known internationally. Everyone mentions what a good musician he is, that they can’t believe he isn’t Cuban and has that ‘sazón’ (flavor/charisma).

He was famous not only in Cuba but also in other countries. An example of this was Oscar’s participation in the Rome Festival when he sang a song by Adalberto. Mr. Adalberto Álvarez passed backstage and commented: ‘Cuba will never be able to repay Oscar for what he has done for Cuban music. He has kept it alive; if it hadn’t been for him, for Johnny Pacheco, for Celia Cruz, for La Sonora Ponceña and others who took it upon themselves to keep ‘son’ alive outside our country’… ‘and of all of them, the fundamental leader was Oscar D’ León because he is the most connected to authentic Cuban musical roots.'”

“In short, every time Oscar goes out to sing and dance, he is representing Cubans. For Cubans, dancing is almost a ritual. In 1950, they danced ‘son,’ ‘danzón,’ ‘mambo,’ ‘chachachá,’ ‘rumba,’ and other dances, some of which lasted a very short time, such as ‘dengue,’ ‘monzambique,’ ‘pilón,’ ‘carioca’; and others transcended time, like ‘conga’ and ‘rumba.’ Salsa is the continuation of, or the same as, ‘son,’ which can be danced with the same style or with different styles.

Photo 3: Oscar D' León in concert — Photo 3: Oscar D’ León in concert

Oswaldo Ponte began his promoter plan by hiring figures, among whom was Oscar D’ León. Becoming a serious entertainment promoter, he took the risk of doing it internationally (outside Venezuela) where he bought a contract from Guillermo Arena to present Celia Cruz with La Sonora Matancera. He also partnered with Juan Caravallo and managed to present the biggest show in Higuerote, Venezuela; with this great step, he was becoming a potential successful entrepreneur in international shows.”

“In 1983, he hired Oscar for 3 performances with ‘Roberto Blades,’ two at the Ávila Hotel and one at San Jacinto Park (both in Venezuela). At that time, Oscar was returning from Cuba, and with a new event, Oswaldo, upon seeing the show, pondered the difference between the two artists.

The Panamanian star was well-managed by his team. However, when it came to judging which was the better show, it was Oscar D’ León’s. When Ponte went to talk with him, he proposed becoming his manager on the condition that Oscar follow his instructions, as he always directed everything, which Oscar accepted. From that moment, many things changed not only artistically but also personally, offering the public not just Oscar D’ León and his orchestra, but Oscar D’ León himself, giving more charm and charisma to his audience.

One of the challenges he had to face was a stagnation in record sales. His new record productions weren’t taking off, so he decided to rely on television. Venezuela was both a recipient and a transmitter country, so his performances were broadcast on different television channels that gave great musical importance, such as ‘Siempre en Domingo,’ which covered the center and north of the American continent, and ‘Sábado Gigante,’ which covered South America, thus giving him international exposure.

One of his best and most unforgettable collaborations was with singer Celia Cruz, who was a great friend of Oscar’s. They participated in many events, one of which was in 1993, where Ralph Mercado did what he called ‘The Perfect Combination,’ which consisted of combining stars for public performances.

Participants included Oscar D’ León, Celia Cruz, Marc Anthony, La India from New York, Tito Nieves, Tony Vega, Cheo Feliciano, José Alberto El Canario, and Domingo Quiñones, of which the most recommended songs were ‘El Son de Celia y Oscar’ and ‘Vivir lo nuestro’ by Marc Anthony and La India. At that time, Oscar had left the TH label and was now with Ralph Mercado; his colleagues were Tito Puente, Celia Cruz, Sergio George, Cheo Feliciano, Tito Nieves, La India, José Alberto El Canario, and other significant stars.

There are many other details and more events up to the present day, but it would be too much to explain in one article. What is very clear is that Oscar D’ León has conquered countless goals in his life, and we can all do the same in the different areas in which we operate, if we set our minds to it with determination and an iron will.

Photo 4: Oscar D' León and his bibliography — Photo 4: Oscar D’ León and his bibliography

To learn more about this, we recommend reading ‘Oscar D’ León, Confesiones De Oswaldo Ponte’ by William Briceño, published by Fundación Simón Bolívar.”