Biography

The Flavor of Barrio La-33 and the Urban Salsa Revolution

The Birth of Swing in Chilly Bogotá

Bogotá, a city nestled more than 8,600 feet above sea level, cold and prone to drizzle, did not seem in the early 2000s like the most obvious birthplace for one of the 21st century’s most influential salsa orchestras.

El Sabor del Barrio La-33 y la Revolución de la Salsa Urbana

However, in 2001, in the heart of the Teusaquillo neighborhood, La-33 was born. Breaking the stereotype that salsa only flourishes on warm coasts, this band proved that Caribbean flavor (sabor) also runs through the veins of the Colombian capital.

Founded by brothers Sergio and Santiago Mejía (musical director/bassist and keyboardist, respectively), the orchestra took its name from the street where they held their first rehearsals: 33rd Street (Calle 33).

From its inception, the project had a clear identity: to rescue the raw, urban, and gritty sound of 1970s salsa brava, evoking legends like Héctor Lavoe, Willie Colón, and the Fania All-Stars, while injecting it with the attitude, energy of rock, and Bogotá’s gritty street vibe. To finance their first album, the band members saved money earned from their gigs in local bars and nightclubs.

The “La Pantera Mambo” Phenomenon

La-33’s rise to international stardom was no accident, but rather the result of a brilliant recording masterstroke. In 2004, they released their self-titled debut album, La-33. The record included a track that would become their ticket to the world: “La Pantera Mambo.”

This piece a spectacular mambo-rhythm version of Henry Mancini’s cinematic classic, “The Pink Panther Theme” fused jazz, suspense, and a powerhouse horn section.

The song instantly became a radio hit and an essential anthem on dance floors from Cali to Berlin, proving that salsa was not a genre of the past, but a living language capable of reinventing Western pop culture.

El año 2001, en el corazón del barrio Teusaquillo, nació La-33

Dynamic Evolution and Discography

Unlike the salsa romántica orchestras that dominated the commercial hit charts in the ’90s and 2000s, La-33 bet on an organic sound heavily influenced by mambo, jazz, pasodoble, and ska.Their music dispenses with excessive synthesizers, prioritizing instead the raw power of percussion, the brilliance of the horns, and lyrics that narrate daily life, urban chaos, and bohemian nightlife.

Throughout their career, they have built an impeccable musical catalog across several studio albums:

La-33 (2004): The debut album featuring “La Pantera Mambo” and “Qué Rico Boogaloo.”
Gózalo (2007): Nominated for a Latin Grammy, it solidified their success with tracks like “Bye-Bye” and “Soledad.”
Ten Cuidado (2009): A more mature record exploring fusions with ska and jazz.
Tumbando por ahí (2013): A tribute to the band’s street-smart, party-loving spirit.
Caliente (2016): Their fifth studio production, released to celebrate fifteen years on the scene.
Si tú quieres salsa (2019): A return to their roots with a powerful, mature, and refreshed sound.

Global Ambassadors of Colombian Salsa

What began as a group of friends rehearsing in a Bogotá house transformed into a global phenomenon. La-33 has toured all five continents, performing at prestigious international events such as the Sziget Festival in Budapest, the Cali Fair (Feria de Cali), and various jazz and world music festivals across Europe, Asia, Africa, and the Americas.

Their ability to get audiences who don’t even speak Spanish dancing is a testament to the universal power of their horn section and rhythmic core.

La 33 El nacimiento del swing en la fría Bogotá

Today, La-33 is not just an orchestra; it is an institution of Colombian alternative music. They proved that salsa can be played wearing leather jackets and a punk attitude while maintaining absolute respect for Afro-Latin roots making it clear that to have swing, all you really need is passion.

Band Members

Sergio Mejía (Bandleader and electric bass)
Santiago Mejía (Keyboards)
Guillermo Celis (Vocals)
David Cantillo “Malpelo” (Vocals)
Edison Velásquez (Vocals and flute)
Alejandro Pérez (Congas)
Juan David Fernández “Palo” (Timbales)
Diego Sánchez (Bongos)
Vladimir Romero (Trombone)
José Miguel Vega (Trombone)
Adalber Gaviria (Saxophone)
Roland Nieto (Trumpet)
Javier Galavis (Sound engineer)
Ray Fuquén (Field producer)

Also Read: Colombia’s legendary Grupo Niche and its founder Jairo Varela

Antonio Adolfo: The Indelible Master of Brazilian Music

From Classical Cradle to the Jazz and Bossa Nova Revolution

That musical heritage is essential to understanding the greatness of Antonio Adolfo.

Being born into a home where the violin from the Rio de Janeiro Municipal Theater orchestra was part of the daily landscape shaped his sensibility from the cradle.

Although he grew up surrounded by the classical discipline of his father, his destiny lay within the keys, jazz, and the revolution of Brazilian popular music (MPB).

De la Cuna Clásica a la Revolución del Jazz y la Bossa Nova

The son of a classical violinist, Antonio Adolfo was born in the bohemian neighborhood of Santa Teresa, Rio de Janeiro, under the sign of Aquarius in 1947. At the young age of 16, the young pianist was already part of the exclusive bossa nova club brewing in the famous Beco das Garrafas alley, leading ensembles that stood at the forefront of the scene, such as Conjunto Cinco and the Samba Trio 3-D.

Shortly after, he participated in the iconic musical Pobre menina rica by Carlos Lyra and Vinicius de Moraes, beginning to make a name for himself in the industry.

Starting in 1967, by forming a creative partnership with lyricist Tibério Gaspar, Adolfo became one of the great catalysts of modern melody in Brazil, composing massive hits like “Sá Marina” and “Juliana.”

Antonio Adolfo El Maestro Imborrable de la Música Brasileña

At the same time, leading the group Brazuca, he established an electronic pop tone that was highly sophisticated for its time (with tracks like “Teletema” and “Ana Cristina”), culminating in the blistering musical highway of “BR-3″—a song that sparked great controversy and shook the core of the era’s music festivals.

A Pioneering Spirit and International Acclaim

After playing as a member of the backing band for the legendary Elis Regina on two European tours, and refining his technique in Paris with the renowned classical maestro Nadia Boulanger—in addition to studying in Brazil under masters Guerra-Peixe and Esther Scliar Antonio Adolfo was ready to take another giant leap.

In 1977, in an act of bravery and pioneering spirit, he released the album Feito em Casa (Homemade) under his own record label, Artezanal.

This was the opening kickoff for a liberating movement: the independent record industry in Brazil, triggering the rise of artistic dynamics that diverged from traditional market rules. Under this self-managed system, Adolfo recorded both original material (including children’s music that promoted free play) and foundational revisions of pianeiro classics, transforming the works of Ernesto Nazareth and Chiquinha Gonzaga for the contemporary piano.

This versatility proved that, as a performer and creator, Adolfo had achieved a rare distinction: mastering contemporary language from a place of timelessness.

Since 1985, the maestro has focused much of his energy on his music school, the Centro Musical Antonio Adolfo, while also participating in international events as an educator, without ever setting aside his stage career.

His profound work with the music of Chiquinha Gonzaga and jazz has earned him prestigious awards and nominations. Furthermore, he is the author of seven textbooks on Brazilian music published by Lumiar, a video lesson, and two books published abroad. For eight years, he proudly served as the Latin American representative for the IAJE (International Association for Jazz Education).

In recent years, Antonio Adolfo has returned to the stage more frequently, performing either in a solo piano format or with a group. From one of his performances at a U.S. university alongside his daughter, singer Carol Saboya, came an acclaimed live album released both in Brazil and abroad: Antonio Adolfo & Carol Saboya Ao Vivo / Live. This success has been followed by recording productions highly praised by international critics, such as Here and There / Aquí y Allá.

Discographic Gem: “Chiquinha Com Jazz” (1997)

A perfect example of his genius for fusing Brazilian roots with the freedom of jazz is his 1997 album dedicated to the pioneer Chiquinha Gonzaga.

Tracklist:

Atraente

Cordão Carnavalesco

Lua Branca

Angu

Gaúcho (Corta-Jaca)

O Forrobodó

Corte Na Roça

Satan

Ismênia

Faceiro

O Abre Alas

Personnel:

Antonio Adolfo: Piano and musical arrangements

Gabriel Vivas: Double bass

Ivan Conti: Drums

Claudio Spiewak: Acoustic guitar

Contributor:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Carlos “Nene” Quintero comes from a family of musical prodigies

Luis Enrique’s “Hoy y Siempre” Tour Lands at the Choliseo

On Saturday, May 2, 2026, Luis Enrique brought his “Hoy y Siempre” concert to the Coliseo de Puerto Rico. Produced by TM Entertainment in a promotional partnership with radio station Z-93, the salsa vocalist returned to Puerto Rico to revisit his rise to stardom in the very place his musical journey began.

During the celebration, Luis Enrique had the brilliant musical direction of maestro Ceferino Cabán

Throughout the celebration, Luis Enrique was backed by the brilliant musical direction of Maestro Ceferino Cabán, whom he introduced as his “comrade of many battles.”

The “Prince of Salsa” spent the night acknowledging that, while Nicaraguan by birth, he came into his own musically on the Isla del Encanto. From the moment he took the stage, Luis Enrique basked in the crowd’s affection as they sang along at the top of their lungs to the hits he has cultivated since the start of his career.

A Journey Through the Hits

The opening set featured an energetic, beaming artist performing tracks like “Lo que fui, soy y seré,” “Mi mundo,” and “Dando y dando.” Shortly after, he moved into “Tú no le amas, le temes,” “Lo que pasó entre tú y yo,” and “Amiga.”

On Saturday, May 2, 2026, Luis Enrique presented his concert “Hoy y siempre” at the Coliseo de Puerto Rico.

Later, the atmosphere shifted to a patriotic tribute honoring both his Nicaraguan roots and his deep “Boricua” sentiment for the land that embraced him at the start of his career. This segment included:

“Autobiografía”
“Añoranza”
“Borikén” (a duet with Hermes Croatto)
“Amanecer borincano” — a moment where Luis Enrique once again adopted Puerto Rico as his second homeland.
“El amor es algo más”

The traditional instruments of Puerto Rican folk music—which continue to evolve across the island’s interior—took center stage during what will be remembered as a historic night for salsa. The cuatro was masterfully played by Christian Nieves, while the güiro de marimbo was handled by Jorge Yadiel Santos, who also provided backing vocals.

New Beginnings and Grand Finales

The soloist then transitioned into his more romantic repertoire with timeless favorites like “¿Quién eres tú?” (a duet with Norberto Vélez), “¿Cómo volver a ser feliz?” and “La mañana.” He also treated the audience to a premiere of an upcoming track titled “Nombre y apellido.” Luis Enrique noted that this new song was arranged and produced by the Puerto Rican producer, composer, and pianist Marcos Sánchez.

The prince of salsa celebrated the night by acknowledging that, although Nicaraguan by birth

The show reached its peak with “Así es la vida” and a medley featuring “Desesperado,” “Solo,” and “Compréndelo.” These were followed by “Sonríe” (a duet with David Rivera) and “Date un chance,” tracks that paved the way for a high-energy finale.

The performance proved that Luis Enrique remains in peak vocal and physical form. The multi-instrumentalist bid farewell to the island that saw him “born” as a salsa star with “San Juan sin ti” and his global smash “Yo no sé mañana.”

Tony Vega Celebrates Half a Century of Romantic Salsa in Puerto Rico

On Saturday, April 25, 2026, the Coca-Cola Music Hall was swept up in the sounds of salsa as Tony Vega took the stage for his concert “49+1: Half a Century of Romantic Salsa.” Thanks to the production of Alexandra Fuentes and a promotional partnership with the radio station Salsoul, the legendary vocalist returned to Puerto Rico for a night filled with music, nostalgia, and profound emotion.

Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

Throughout the celebration, Vega was backed by the musical direction of the virtuous instrumentalist, composer, singer, and independent producer known in the salsa world as Jota Ruiz, of the prestigious Ruiz de Ponce musical dynasty. Jota led an elite ensemble featuring:

Savier Díaz (congas), Edwin Clemente (timbales), Jorge Mercado (bongo), Juan Rivera (piano), and Alexis Pérez (bass).
José “Pucho” Ruiz (the Ruiz family patriarch) and Víctor Ambert on trumpets.
César Ayala and Julio Hernández on trombones.
Fernando Muscolo on keyboards.
Hugo Maysonet and Alejandro Villegas on backing vocals.
A string section composed of Jonelys Ruiz, Sairilis Meléndez, Sinaí González, Sofía Acosta, Orlando Rivera, and César Jacomino, with Luis Rodríguez providing general assistance.
Tony Vega recordando su etapa con Eddie Palmieri Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

Tony Vega’s performance made it clear that his storied career has been a cornerstone of salsa history, particularly within the salsa romántica movement. The audience made the Coca-Cola Music Hall in San Juan vibrate, singing at the top of their lungs to the many hits Vega has placed at the top of the charts over the decades.

Tony Vega y la orquesta acompañante Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

The artist of Puerto Rican descent structured his set to detail the various stages of his brilliant career. He opened the night with “Cosquillita,” representing his professional debut alongside Raphy Leavitt. He then playfully performed “Feo pero sabroso,” a nod to his time in the recording studio with Louie Ramírez, followed by “El cuarto” and “Vámonos pa’l monte” as a tribute to his artistic growth under the mentorship of Eddie Palmieri.

Tony Vega y su sección de percusión Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

A deeply significant and nostalgic moment arrived with a medley chronicling his years with Willie Rosario, prompting the crowd to sing even louder to “Busca el ritmo” and “Mi amigo el payaso.”

From there, the vocalist reminisced about the transition to his ongoing solo career. He shared the story of his historic contract with Ralphie Mercado of RMM, which, as Tony recalls, was famously signed on a napkin “without any formalities.” From this era, he highlighted staples such as “Yo me quedo,” “Tu prenda tendida,” “Lo mío es amor,” “Dile,” “Tengo curiosidad,” “Uno mismo,” and “Mi iglesia,” which he performed as a duet with the stellar guest Alex D’ Castro. He continued the marathon of hits with “¿Dónde estás?,” “Deja,” “Esposa,” “Si me miras a los ojos,” “Si yo vuelvo a encontrarla,” “Fui la carnada,” “Ella es,” “Olvídalo ya,” “Carita de sol,” “Haremos el amor,” “Esa mujer,” and “Aparentemente.”

Tony Vega, concierto CCMH Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

The closing theme, “Déjame soñar,” stirred the singer’s patriotic pride and featured a powerful timbal solo by Edwin Clemente, followed by guest appearances from Gerardo Rivas and his son, Gerardo Gabriel Rivas.

Tony Vega, Trombonista César Ayala al fondo Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

Throughout the evening, Tony Vega expressed his gratitude to those instrumental in his success. He showed profound respect for Humberto Ramírez, who is widely credited with laying the foundation for Tony Vega’s signature sound and establishing the musical concept for his orchestra at its inception. Another noteworthy moment occurred during an improvisation in “Déjame soñar,” where he affectionately declared José Alberto “El Canario” an honorary “Boricua.”

As he had anticipated, Tony Vega experienced the concert as a true celebration of all he has achieved in his 50-year career. He emphasized how much it meant to be surrounded by his people, “sharing music with those who have been with me from the start, right where it all began.”

Photography: Jorge Más

Read Also: Bella Martinez, the irreverent Salsa writer

Let’s talk about Una noche en Old Town “en vivo,” while staying true to the musical journey of “El Calvito” Reyes

“Yes, Una noche en Old Town was an event held for about 100 people at a restaurant in the area known as Old Town in Kissimmee, Florida. Old Town is a park that feels like a year-round festival, 365 days a year,” the artist explains. This marks the third musical production from the Puerto Rican singer-songwriter known in the salsa world as “El Calvito,” one of the most fervent champions of the Salsa Nueva movement.

With this release, Edwin puts his salsa and his talent at the service of his followers. His repertoire spans classic salsa, romantic salsa, and what he calls “conscious salsa.”

Edwin “El Calvito” Reyes acknowledges that while everything has already been invented, the key is to stay focused and execute the ideas swirling in his mind. The press release for the new live album, titled Una noche en Old Town, notes: “Remember in the ’90s when many artists (…) recorded live productions? That was a trend that (…) went down in salsa history.”

The Production

The final product is a “live” recording of his orchestra. The production turned what was originally planned as a birthday party at Old Town Park in Kissimmee into a full album. Sound engineer Joseph Díaz captured the session, which was later mixed and mastered by pianist and engineer Víctor Romero. The content was further polished at Harmony Recording Studios in Orlando, Florida.

The album features the collective performance of the musicians who have accompanied the singer for years, including their appearance at the 2025 Día Nacional de la Zalsa in Orlando. The lineup includes:

John López: Congas
Daniel Ortiz: Timbales
Manny Urbina: Bongo
Víctor Romero: Piano and Musical Direction
Yasmani Roque & Marcos Rivera: Trumpets
Bert Laboy: Trombone
José Castro Marchán: Baritone Sax
Una Noche en Old Town Edwin El Calvito Reyes
The night at Old Town also featured guest appearances by heavyweights such as Kriptony Texeira, Harold Montañez, and José Novoa. Additionally, Richie Nieves, the well-known voice of KQ FM Radio in Orlando, handled the album’s intro.

The Origin

The stage was set specifically at El Cilantrillo restaurant within Old Town. The event celebrated the birthday of Javier Colón, owner of La Feria Salsera and Edwin’s partner for the veteran-focused dance events that Edwin has successfully led in recent years. Javier hired “El Calvito’s” orchestra, the performance was recorded, and from that session, this authentic album was born.

By chance, the date of the party coincided with one of the most important days on the Puerto Rican salsa calendar: the traditional Holy Saturday Dance (Sábado de Gloria). “Many Latinos don’t understand and ask, ‘Are you guys seriously holding a dance on Holy Saturday?’ So, unintentionally, we tapped into that tradition—and it is a tradition in every sense of the word. By trying to keep it alive, we (Puerto Ricans) have shared it with the rest of the Hispanic public.”

According to Edwin, the performance was originally recorded for promotional purposes. However, the artist felt it was such a great capture of the evening’s energy that he consulted his musical director, Víctor Romero, to see what he thought of the idea.

The Release

Coincidence dictated that the album be published and available on digital platforms exactly one year after the recording. The producer admits it was a high-risk project because it was recorded live during an organic event outside of a controlled studio environment. The classic covers Edwin included as tributes to “those who have passed” (arranged as medleys) were his biggest concern, yet they ultimately earned widespread approval.

“El Calvito” Reyes says he doesn’t fear the critics. Driven by passion, he decided to release this 10-track production—eight of which he wrote himself, plus two salsa hit medleys—aiming to win over dancers, listeners, and collectors alike.

Tracklist:

‘Medley salsa nueva’
‘Así llamaban al Conde’
‘Homenaje a los que se nos fueron I y II’
‘Dime mi Buen Señor’
‘Tú del sur, yo del norte’
‘El karma’
‘Tócame la moña’
‘Baila cha cha chá’
‘Solo tiempo pa’ rumba’
‘Orgulloso de ser latino’

Stream & Connect: The album is available digitally on YouTube Music, Spotify, and Apple Music. Each track has a corresponding video at: https://www.youtube.com/@ElCalvitoReyesOficial/. The orchestra is available for bookings. You can reach the office via phone or WhatsApp at +1-912-980-8476 or by email at [email protected].

For more on the music of Edwin “El Calvito” Reyes, visit: https://solo.to/elcalvitoreyes