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Artists

Domingo Quiñones The Greatest Singer, Sonero, Poet, and Salsa Warrior

A Talent Born in the Diaspora and Forged in the Neighborhood

Domingo Quiñones was born on August 9, 1963, in Perth Amboy, New Jersey. Born to Puerto Rican parents, he returned to the island with his family at four years old to settle in the municipality of Ceiba.

In 1977, a young Domingo returned to New York, where six years later he formally launched his professional career by joining Conjunto Nativo.

Domingo Quiñones The Greatest Singer, Sonero, Poet, and Salsa Warrior
Domingo Quiñones The Greatest Singer, Sonero, Poet, and Salsa Warrior

In that New York scene, the up-and-coming sonero began polishing his talent, collaborating with renowned bands and artists such as Rafael de Jesús, José Alberto “El Canario,” Johnny Rodríguez, and Conjunto Clásico.

By 1985, he joined maestro Luis “Perico” Ortiz’s orchestra, becoming its lead vocalist just eight months later. With the group, he recorded four iconic albums, most notably La vida en broma (1985), In Tradition (1986), and Perico (1987).

Domingo A Talent born in the Diaspora and forged in the Barrio
Domingo A Talent born in the Diaspora and forged in the Barrio

His performance quickly established him in the industry, leading him to become the first winner of the prestigious “Festival de Soneros: Duelo al Anochecer.”

Solo Breakthrough and Musical Maturity

In 1990, Quiñones signed with the influential label RMM Records and released his debut solo album, Domingo es mi nombre, produced by Charlie Donato. Following a standout feature on the legendary Tito Puente’s 100th album, he released his second project, Pintando lunas. Tracks like the duet “Enséñame” with Tony Vega and his salsa rendition of “Crazy for You” showcased the young performer’s impressive versatility.

Later, following significant personal experiences, he released Se necesita un milagro, one of the most pivotal albums of his career.

In this fifth project under RMM produced by Carlos “Cuto” Soto, with whom he had previously worked on the album Mi meta Domingo tackled spiritual, emotional, and social themes. Following its release in late 1997, the work was honored by the National Foundation for Popular Culture of Puerto Rico as one of the year’s most outstanding productions.

Domingo y Tito el Bambino
Domingo y Tito el Bambino

Continuing along that same reflective path, he released the album La verdadera Navidad in late 1998. The production highlighted his composition “Si mi papá se quitara,” a poignant song portraying a child’s pain over a father’s addiction, which became one of the season’s biggest hits.

Artistic Versatility: From the Music Stage to Theater and Film

Ever evolving, Domingo Quiñones’ passion for the arts led him to successfully venture into theater and film. In March 1998, he made his debut at Puerto Rico’s Festival Hall as part of the cast for the tropical adaptation of the rock opera Jesus Christ Superstar. Shortly after, he was cast to portray the legendary singer in the stage play Quién mató a Héctor Lavoe, presented by the Puerto Rico Traveling Theater in New York.

Domingo Quiñones y Dj. Augusto Felibertt
Domingo Quiñones y Dj. Augusto Felibertt

Amid talks to adapt the play for the big screen, Domingo earned standing ovations during the historic Fania All-Stars reunion at the Hiram Bithorn Municipal Stadium in Puerto Rico. Following this triumph came the successful release of his album Poeta y guerrero, where he reaffirmed his talent as both a singer and songwriter.

Beyond music and theater, the Puerto Rican salsero made his silver screen debut in the movie Héroes de otra patria. His performance earned him an honorable mention at the Viña del Mar International Film Festival, and the film was chosen as Puerto Rico’s official submission for Best Foreign Language Film at the 1999 Academy Awards.

Today, his legacy as a songwriter, producer, actor, and performer cements him as one of the most complete and respected singers in contemporary salsa.

Also Read: Ralph Mercado: The Visionary Who Turned the Neighborhood Rhythm into a Global Phenomenon The Salsa Giant in New York

The Rhythm Explosion: Tony Succar Conquers the Legendary Tempo Latino Arena 2026

The Latin Grammy-winning Peruvian percussionist and producer closed the 31st edition of the iconic French festival with a display of dynamism, cutting-edge percussion, and pure clave flavor.

La explosión del ritmo Tony Succar conquista la mítica Arena de Tempo Latino 2026.
La explosión del ritmo Tony Succar conquista la mítica Arena de Tempo Latino 2026.

VIC-FEZENSAC (FRANCE) The small town of Vic-Fezensac, in the heart of the Gers department, once again became the European capital of Afro-Cuban music from July 30 to August 2, 2026.

On closing night, the legendary bullring turned Tempo Arena witnessed one of the most thrilling performances in its more than three-decade history: the showcase by Peruvian-American percussionist, arranger, and producer Tony Succar.

The Grand Finale at the Tempo Arena

The Tempo Latino festival celebrates the rich heritage of Caribbean rhythms. On the night of Sunday, August 2, following the jazz virtuosity of Cuban pianist Alfredo Rodríguez, Succar took the main stage backed by an exceptional lineup of musicians.

El percusionista y productor peruano galardonado con el Latin Grammy cerró la 31ª edición.
El percusionista y productor peruano galardonado con el Latin Grammy cerró la 31ª edición.

From the very first hit of the timbales, the two-time Latin Grammy Award-winning producer demonstrated why he is considered one of the most influential creative forces in the evolution of contemporary salsa.

The concert kicked off with an overwhelming energy that brought thousands of ecstatic dancers to their feet. Succar delivered a repertoire that navigated between:

  • Salsa Dura: Classic, high-octane style.
  • Afro-Cuban Jazz: Rich in colors, harmonies, and improvisation.
  • Caribbean Pop: Adding the fresh nuances that define his signature musical style.

The circular acoustics of the arena served as a natural resonator for the percussion’s polyrhythms, where Tony’s own timbale solos reaffirmed his technical mastery and deep-rooted connection to tradition.

Cutting-Edge Sound, Tributes, and a Global Vision

One of the night’s highlights came with the salsa reinterpretations from his renowned project, Unity: The Latin Tribute to Michael Jackson a landmark album that transformed global pop into an authentic tropical showcase.

Tony Succar y Mimy Succar (cuyo nombre real es Miriam Tayrako Sakaguchi).
Tony Succar y Mimy Succar (cuyo nombre real es Miriam Tayrako Sakaguchi).

The European crowd sang along to arrangements where sharp brass lines and salsero syncopation breathed new life into the “King of Pop’s” classics.

Succar also used the Vic-Fezensac platform to showcase tracks from his recent productions, characterized by avant-garde arrangements that never lose their danceable groove.

The tightness of the horn section and the rhythm ensemble kept the festive momentum high throughout the night, proving a rigorous production standard that spares no flavor.

The Enduring Power of Salsa on European Soil

The 31st edition of Tempo Latino brought together top-tier performers from various genres, sharing the lineup with prominent figures:

Featured Artists & Ensembles
Tony Succar
Alfredo Rodríguez
Maïté Hontelé
Orquesta Akokán
La Yegros
Matt Bianco

Note: Corrected the edition number in context to match the 31st edition noted in the header.

However, Tony Succar’s performance on the final night served as a powerful reminder of salsa’s current state: a living, evolving, and truly global genre.

With this concert, Succar not only fulfilled a long-awaited date with European clave enthusiasts, but also solidified his place among the great champions of contemporary tropical sound.

As the lights of the Tempo Arena finally went out, the standing ovation echoed through the streets of Vic-Fezensac, confirming that the new generation of salsa has one of its boldest architects in Tony Succar.

 Tony Succar: “Thank you so much, TEMPO LATINO! It was an honor to return to this incredible festival after 9 years. We had so much fun! And it brings me so much joy to see how much people love salsa on this side of the world.”

By: Titouan Maza & Jean Paul Pourque.

Succar en el Arènes de Vic-Fezensac
Succar en el Arènes de Vic-Fezensac

Read Also: Antonio “Tony” Succar: Percussionist, Composer, Arranger, Bandleader, and Music Producer

 

Julian Silva from La Excelencia has overcome the typical difficulties of the music business

American composer, producer, and musician of Colombian descent, Julian Silva, offered us a very pleasant conversation in which we touched all kinds of topics related to his career and the group he currently leads, Orquesta La Excelencia.

The artist has been received by any number of international markets and has been responsible for sold-out tours and performances in more than 16 countries in total, so we are honored to have spent some time with the musician and heard what he has to share with us.

Composer Julian Silva
This is composer, producer, and musician Julian Silva

What inspired Julian to get started in music?

Despite not having any family musicians, Julian emphasizes that his father used to play and sing with his brothers as a hobby, but what they did was not professional at all. It was mere entertainment. Due to this deep love for music, he would always listen to all kinds of artists, especially salseros, with his kids while they were young, which sparked Julian’s desire to learn to play.

That was how the young man born in Cali, Colombia, and nationalized in the United States, began playing guitar at the age of 11 and formed a small group with some friends in trio format. He also wanted to learn to play wind instruments such as the saxophone and trombone, as well as percussion. He also took other music classes in high school, but after that, all he learned by ear and practice. The same thing happened when writing and composing music, for which he did not need any formal training to help him with that.

Music and Psychology

After graduating in psychology from Louisiana State University, Julian moved to New York, as it was in this city that he could truly discover his Latin roots through art. It is worth noting that, thanks to this knowledge acquired during his university education, he has been able to combine the two careers he is passionate about.

After completing his undergraduate studies, he also finished a master’s degree in music therapy, which is why he defines himself as both a professional musician and a music therapist. In other words, he uses music to help people, especially children and older adults, improve their physical and emotional health.

Julian and his band
Julian Silva and his band La Excelencia

One of the things that inspired him most to use music as a form of therapy was his own experience as an immigrant. As a child who had recently arrived in Louisiana and did not speak English, he found it very difficult to connect with others because of the language barrier, so he started using music to achieve this.

First professional opportunities in music

While Julian was still in Louisiana, he noticed that there were not many Latinos in that state, but there was a fairly large group of Hondurans and Dominicans, so merengue was quite popular in that area. That was not what the young man was looking for, and many of these merengue groups, due to lack of experience with the genre, did not want to accept him, so he was always very clear that he wanted to start his own band to avoid such problems.

That was how, at just 17 years old, he had his own band and played at various venues across the United States, until he finally had to go to Austin, Texas, where they opened for Larry Harlow and his Latin Legends Band. It was that day that he had the opportunity to meet Harlow himself and timbalero Chino Núñez. During his talk with these stars, Julian shared his intentions to develop his career and Harlow and Núñez advised him that, if he truly wanted to play salsa and be successful, he had to move to New York, which he finally did after graduating from college.

Orquesta La Excelencia

While it is true that the official founding year of the band La Excelencia was 2005, it was in 2001 that he arrived in New York with a group he already had (Los Calientes del Son) which had previously been signed by a record label and was in the process of releasing its first album. However, the terrible and world-famous events of September 11th caused tourism to plummet dramatically and force New York’s arts to make a temporary stop. It is worth adding that reggaeton and bachata started to gain immense popularity, leaving salsa in oblivion.

La Excelencia at tempo Latino
La Excelencia performing at Tempo Latino in 2023

The facts described above caused the record label to leave off the album until conditions improved. In 2004, seeing that the situation never changed, Julian decided to deviate from his contract, form a new group he named La Excelencia, and create what he himself called “salsa with a social conscience.”

Since he did not know many experienced musicians, he recruited young aspiring musicians, some of whom had not even finished high school. At that point, he started writing more seriously, composed his first song, “La Lucha,” and faced one of the biggest challenges his fledgling orchestra would encounter: anonymity. He nor his bandmates were not at all famous because they had not studied with great musicians nor had any relatives with connections in the industry, which made everything much more difficult for them.

As they were gaining more and more recognition, they released albums such as “Salsa Con Conciencia,” “Mi Tumbao Social,” and “Ecos del Barrio.” In 2012, they took a break because the guys wanted to focus on their own careers, other projects, and starting families, but they were never completely apart. They got back together between 2018 and 2019, when they released their fourth album, “Machete,” which would be released in March 2020. However, fate surprised Julian again with the COVID-19 pandemic.

Although worried, they did not let the circumstances get them down and went ahead with the release so that people could enjoy their music from their homes during quarantine, which worked out pretty well in numbers and popularity.

Today, La Excelencia consists of Julian himself, bassist Luis Orona, pianist Willie Rodríguez, and singer Gilberto Velázquez.

Read also: Hector Rivera ‘‘Riverita’’ tells the story of how he created Riverita Y Su Orquesta Noche Caliente

Here is how the 2nd Edition of the “Ponce, Cuna de la Salsa Fest” Unfolded

The 2026 Ponce Cuna de la Salsa Fest honored the work of Don Tite Curet all weekend long.

The second edition of the Ponce Cuna de la Salsa Fest drew and welcomed more than 30,000 attendees to the Ciudad Señorial (The Majestic City), according to reports from the mayor’s office. The festival, which paid tribute to Don Tite Curet Alonso on the occasion of his centennial, took place at the Héctor Lavoe Stage inside the La Guancha Recreational and Cultural Complex, keeping salsa fans captivated throughout the entire weekend.

Willie Rosario
Willie Rosario

On Friday, July 31, 2026, the opening day kicked off right on schedule, delivering an organized, top-tier lineup.

El Junte Ponceño, under the direction of Julito Alvarado accompanying Dakota Flores, Kriptony Texeira, and Wito Colón opened the show, making it clear why Ponce retained its title as the “Cradle of Salsa” (Cuna de la Salsa) for the second consecutive year. To achieve this, the Ponce-born trumpeter, who is the director of the Juan Morel Campos Music Institute and the musical leader of El Gran Combo de Puerto Rico, assembled a roster of master musicians, including: José “Murcy” Reyes on congas, Richie Carrasco on bongo and cowbell, Pablo Padín on timbales, Reynaldo Burgos on piano, Efraín “Frao” Hernández on bass, Víctor “Yuka” Maldonado on baritone sax, Víctor Vázquez on trombone, Carlos Atiles on trumpet, Francisco Javier Quiñones and Juan Bautista on backing vocals, as well as emerging trombonist Carlos Malavé a recent graduate of the Juan Morel Campos Institute who stepped onto a major international stage within the salsa movement for the very first time.

Don Perignon y La Puertorriqueña
Don Perignon y La Puertorriqueña

El Junte Ponceño was followed by Charlie Aponte and his orchestra, who, as always, kept the stage ablaze. This set the tone for the grand finale led by Luisito Figueroa’s Orquesta Abran Paso, backing Luigi Texidor, Anthony Colón, and the First Lady of Salsa, Yolanda Rivera.

The second day, Saturday, August 1, featured a stellar lineup: Los Guardiola, Don Perignon y La Puertorriqueña proving themselves to be a world-class orchestra in front of an audience represented by delegations from Italy, Venezuela, Mexico, Spain, Colombia, Peru, Costa Rica, Nicaragua, Argentina, Panama, Ecuador, Japan, and Thailand, along with many Puerto Ricans from across the island and the diaspora. Willie Rosario and his crowd-pleasing band showcased the ever-treasured playing of “Míster Afinque” behind his timbales, handing off the drumsticks to his grandson, Yoaquím Cintrón Rosario, between songs. The grand finale of the second night was delivered by Moncho Rivera, who faithfully upheld the legacy of El Sonero Mayor, blending in his now extensive repertoire as always. The municipal administration ensured smooth traffic flow by establishing designated transportation shuttles into the recreational complex.

multitud
multitud

The third and final day of the 2026 edition of this salsa landmark event kept the genre and its Puerto Rican exponents flying high right from its birthplace, Ponce. This was made possible by the Honorable Mayor of Ponce, Marlese Sifre, the Salsoul team under the programming of Ricardo Padilla-Núñez, and the production of Madera Events. Adding to the musical lineup was a cultural exchange with the city of Cali, featured through the voice of Willy García. The artists who kept the Sunday crowd fully locked into Ponce Cuna de la Salsa Fest mode until the very last minute were Papote y su Grupo Esencia, Bobby Valentín and his orchestra, José Alberto “El Canario”, Luis Enrique, and Andy Montañez and his orchestra. The event closed with a tribute to the late, legendary composer from Guayama, Catalino “Tite” Curet Alonso, featuring the Orquesta del Centenario performing his musical repertoire under the direction of Pete Perignon. They backed an extraordinary lineup of vocalists: Tito Allen, Herman Olivera, Papo Sánchez, Jeremy Bosch, and Caleño singer Willy García.

Carmencita DJ kept the music flowing, staying true to the central theme of the Ponce event and keeping Don Tite Curet’s music playing all weekend long.

Photo of Julito Alvarado: (c) Bella Martínez

All other images: (c) Ciudad de Ponce & (c) Visit Ponce

Bella Martinez Puerto Rico

Also Read: Bella Martínez, Salsa’s Irreverent Writer

 

Colombian producer, composer, and singer Alea: from the Guajira Colombiana to Boston

Colombian singer María Alejandra Jiménez, also known as Alea, has given us the honor of answering our questions to know a little bit more about her and her career, which has us satisfied. We do not always have the opportunity to work with such a versatile and talented artist.

Today the young woman from the Colombian Guajira is an artistic producer, composer, and singer who has experimented with genres such as jazz, Latin jazz, and Colombian folk music, among others.

Composer Alea
Colombian producer, composer, singer and VO actress Alea Jimenez

What drew Alea’s attention to music?

In her response to the same question, Alea said she remembers to be a two or three-years-old girl when she attended her first salsa party in her living room. She also remembers how that music that she heard for the first time put her into a pleasurable trance-like state that had her dancing for hours. It was the rhythms and the beat that she loved so much she would never forget them.

She was just about 15 years old when she played her first paying gig. She describes the process of making herself as an artist as funny and very creative. However, it was not until 2015, when she was already living in Boston, Massachusetts, that she decided to take “Alea” as her stage name.

It was there where she finally became professional in the field by studying music at Berklee College of Music with a special focus on jazz and vocal performance. It is also worth mentioning that, prior to that, Alea had already studied organizational communication at Colegiatura Colombiana in Medellín.

Alea’s First EP

While it is true that official sources indicate that Alea released her first EP, *Alborotá*, in 2010, which, by the way, was nominated for Best Latin Album of the Year, but it is not quite like that. The Colombian artist corrected us, saying that her first EP was actually her graduation project, which was a recording with a strong focus on jazz and some of the typical folklore of her country. However, she still had a lot to learn and discover about music.

Alea singing
Alea singing live

When “Alborotá” was finally released, it was her first approach to the sound she truly wanted to achieve. Alea sought that her music served as tribute to her Latin American roots, to feminism, and to women’s empowerment in this era. Likewise, she wanted to propose a sound coming from the city that inspired her most at the time: New York.

It was a very contemporary acoustic sound produced by the independent vinyl record store, Jarana Records. The artist says she was carried away by how the music made her feel, and, to her surprise, the public welcomed the album incredibly well, much better than she initially expected.

She never in her life expected that her work resulted in one of the best albums in Rolling Stone and the broadcasting and media organization National Public Radio (NPR), but it indeed was so, which means that all her effort was completely worthwhile.

Being an independent artist without the necessary financial resources to invest in promotion or marketing, this triumph made her feel much prouder of herself than she could have ever imagined.

Voice Acting

In addition to singing, something that Alea loves to do, she has also devoted a large part of her career to acting and lending her voice to major productions while still living in Mushaisa, La Guajira, and later in Medellín. She would also do so in the United States, as she always liked this artistic branch.

Singer Alea
Singer Alea Jimenez
Bassist Andres Fonseca Alfonso
Guitarist Gustavo Alfonso Diaz
Saxophonist D.J. Duffy
Trombonist Melisa Raquel
Choreographer Argelia Rossana
Musical director Felipe Fournier

While still in Colombia, she also had the opportunity to learn a bit about radio and television broadcasting when she was studying in her home country, so all these areas were very easy to learn for her. This also served as a second career for her, this in order to take the heat of her having to derive all of her income from music.

First, she worked as a production associate for a music and sound company, and then as a producer, which gave her a very clear visión about how to do things properly in this field.

She also told us that she has her own home studio where she pretty much does all her work and that she has taken workshops with SAG-AFTRA (the leading union of entertainment and communications professionals in the United States) as a member.

She has also lent her voice to various commercials for major companies such as Walmart, Nissan, Verizon, MLB Bobbleheads, LinkedIn, Pepto, Corona Refresca, Google’s Waze, Liberty Mutual, and Denny’s.

Read also: We’ve talked with Elizabeth Meeker Howard, one of the members of Las Sabrosas Latin Orchestra

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International Salsa Magazine (ISM) is a monthly publication covering salsa activities around the world and has been publishing since 2007. It is a worldwide network of volunteers coordinated by ISM Magazine. Together, we work to strengthen salsa events around the world.