December

Cultural impact of Edwin “El Calvito” Reyes and his management of the “salsa nueva”

On November 9, 2024, the second edition of the International Bailable in Honor of Our Heroes was held in Orlando, FL. The first edition of what is already shaping up to be an annual activity was held in November 2023. This unprecedented initiative is the brainchild of U.S.-based Puerto Rican salsa artist Edwin “El Calvito” Reyes. During both editions of the bailable, personalities within the music scene have been recognized for being pillars in the production, promotion and dissemination of the salsa sound.

The night before the bailable, a press conference was held in Kissimmee, FL. Afterwards, the five salsa generals of the year 2024 were named: Carmen Aguilar, Bella Martínez, Migdalia Sánchez, Herman Olivera and Richard Román. The ceremony was framed by the protocol and discipline characteristic of the civilian and military decorations that exalt with seriousness the personnel who fulfill the mission entrusted to them. In the first collation of salsa generals, invested in the 2023 ceremony, the work of the following was recognized: Chamaco Rivera, Eduardo Robles, Joey Hernandez, Luis Gonzalez and Richie Sanchez.

“The idea arose from the need to recognize the sacrifice of our heroes,” said ‘El Calvito’, adding: ‘I wanted to create a space where veterans could feel valued and celebrate with their loved ones’.

Since its first edition, the bailable and the activities surrounding it seek to acknowledge the commendable work and dedication of veterans, active duty military and other heroes of the community whose mission is to maintain the integrity and security of our nation, our communities and our families.

The bailable featured a good balance of established and emerging artists. Attendees enjoyed performances by Chamaco Rivera, Edwin “El Calvito” Reyes, Izis “La Enfermera de la Salsa”, Ivan Cacu and Christian Ray. Fernandito Rentas, Jai Ramos, José Cheo Torres, Harold Montañez and Wiki González were the evening’s special guests. Last year, the artists who also celebrated with “El Calvito” the 5th anniversary of his so-called salsa nueva were: Melina Almodovar, Kharim Santos, David Atanacio, Christian Ray, Fabian Rosales and the ensemble Reunidos por la salsa.

El Calvito Reyes e Izis La enfermera de la salsa

The production of Con Clase Media Group and La Feria Salsera, with the collaboration of Taíno Shirts and Latinos in uniform was at the level of any concert of international stature. Thus, “El Calvito” has materialized an unprecedented idea, achieving the recognition of the sacrifice of the heroes of the nation, in the key of salsa. For the second consecutive year, the novel initiative brought together a large number of veterans, family members and members of the community, who are also followers of salsa. This staging, at the initiative of “El Calvito” promotes respect and gratitude to those who have served the nation from different trenches.

Having been more than pleased, we have reserved in our agenda the weekend of November 7-9, 2025, to go to Orlando, FL to celebrate the third “wikén de sabrosura para nuestros héroes”. Once again, the team led by Reyes will aim to pay tribute to U.S. military veterans, as well as police officers, firefighters and first responders who have dedicated their lives to protecting and serving the nation. November 8 already promises to be a night full of music, dancing and recognition.

Images: Jefferson López

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

The best marimba band found in Los Angeles

Every day there are more Latin bands that leave the music of our countries in the highest and one of them is Marimba Tropical and the great talents who make up this group. To know a bit of this project, we have made contact with its current director and one of its founders, Lucas Critchfield, with whom we have been able to talk via email about his life and the group he leads.

bandleader Lucas — This is bandleader and musician Lucas Critchfield during a wedding where he played

Lucas’ beginnings in music and marimba

Like many other artists, he had an interest in music at a young age. In his particular case, he used to imitate animal sounds such as roosters, crows and other typical animals from the rural area of New Mexico, where he spent practically his entire childhood. In addition to that, he was always very curious about the Native American drums because of their particular sound, although this was not the first instrument he would play, but the bells.

When he joined the school band, Lucas wanted to play the drums, but first he had to play the bells for a while. He was in that band from sixth through twelfth grade and was also in his college marching band, which was his springboard to a more professional path in music.

Some time later, he managed to play in international bands Troopers and Santa Clara Vanguard Drum & Bugle Corps in the state of California, where he played quad drums for about five years and toured all over the United States.

His first contact with what would become his main instrument, the marimba, was in the University of New Mexico band, something that did not convince Lucas completely since he did not think he had the ability to take on a challenge like that. Fortunately, he dared to do so and did so well that, two years later, he became the leader of the band, which played the Mexican style and whose mentor, Steve Chavez, owned a multitude of Mexican marimbas.

By 1993, his father took him to Chiapas, Mexico, where he met numerous marimba makers and was encouraged to buy his first marimba to start playing marimba professionally.

Lucas playing ”Marimbas Para Mamá” for a church and reception

Lucas’ first band

Lucas’ first band was Marimba Dulce in Albuquerque in around 1997. The group lasted 10 years and he shared the project with Mike Anaya on bass and Anthony Bacca on drums. At the same time, he studied music education and earned a master’s degree in percussion.

In addition to all that, he was also fortunate enough to play with steel drum bands, reggae groups, symphonic orchestras, among many others.

Back in 2008, he also taught music classes in high school and middle school and did the same in the state of California, where he would return to teach percussion in elementary schools.

Marimba Tropical’s founding

The group Lucas created and currently leads receives is called Marimba Tropical, which was founded in 2009 and short-lived because of the difficulties of a nascent group without many resources to stay in the market for a long time. It all started with Lucas meeting a couple of musicians in the Pacific Crest Drum & Bugle Corps, with whom he got to play at some dive clubs and at blues festivals.

In those years, they did not have a large repertoire, so they did repetitive shows and even repeated several songs in the same concert, so sometimes they did not get a chance to eat. Group’s conditions were not the best, so Lucas and the young musicians who accompanied him did not have a very good time and it was very difficult for them to take the project forward.

Years later, specifically in 2015, the band became a duo only composed of Lucas and his partner Jasenia Ruvalcaba Morningstar, who is a Southern California native, plays the bootom of the marimba and also the maracas, the güiro and the flute. She is also a music teacher.

While both Lucas and Jasenia are the key players in the group, they also have Aaron Leutwiler in San Diego, while talented musicians Nancy Guzman and Horacio Peralta support them in Los Angeles when they are busy with other commitments.

What Lucas aspires to achieve from Marimba Tropical in the future is to spread love to the marimba as much as he can and to make it as common in the United States as it is now in Chiapas, Oaxaca and Central America. Similarly, the artist wants to keep offering memories to the natives of these places, whose smiles when he plays ”Las Mañanitas” make him feel very honored to be able to represent so many places at the same time.

Cuban pianist Daniel Amat achieves his dream abroad

Historically, Cuba has been a tremendous source of talent and keeps on proving it to this very day. Through our great friend, Cuban tres player Ivan Camblor, we have been able to make contact with talented pianist Daniel Amat, who has revealed some of the most interesting facts about his life and career both in his native country and worldwide.

How Daniel got into music

Daniel was fortunate to have been born into a musical family, starting with his father, who was known as ”El Pancho Amat” and had a great talent with the Cuban tres. On his mother’s side, there were also several musicians, so as a child Daniel always had contact with this fascinating world, to which he would belong a few years later.

By learning to play, he started with percussion, but little by little, he experimented with the trumpet and ended up playing the piano at the age of 13, since he saw it as a mixture between the sound world of the trumpet and the rhythmic world of percussion. This is the instrument that would finally hook him and for which he would later become known.

Havana National School of Music

Daniel was a native of a small village in the country, where music could be studied at a basic level. However, anyone who wanted to attain an average level had to go to Havana if or if, but first those interested had to take some entrance exams in order to study in the aforementioned city.

After passing those tests, you went to the National School of Art (ENA), which was especially for the people from the Cuban provinces. In the case of Havanans, there was a music school exclusive for them. At the ENA, I met people from all over the country who played all kinds of genres, which helped me a lot. I studied with Ulises Hernández, who was an excellent teacher and one of the best concert pianists in Cuba” said Daniel on the issue.

Daniel playing — Daniel Amat playing his piano live

He also told us that the school prepared him for many things, although he assures us that teaching is never complete, since a professional in any field must always look for a complement to add to that knowledge, which is given by practical professional experiences. The same happens with music and he is a great example of this.

In the same way, he pointed out that what he learned in the conservatory could not be learned on the street and what he learned on the street could not be learned in the conservatory, so the study and practice complement each other and are not mutually exclusive.

Daniel’s professional start in Cuba

In addition to his studies at the conservatory in Cuba, he also began to pursue music in a much more professional way by playing charanga and danzones at the national hotel. He assures that this experience was very enriching, since he had the opportunity to learn what he could from older musicians with an immense trajectory.

Of that time, Daniel highlights his enormous will to know everything, so he always paid close attention to the anecdotes and stories that his colleagues told each other. Additionally, he was given a lot of advice on how to play or not, so he learned a lot during those years.

He also played with some Cuban popular music and danzón orchestras until he found his own style and released his first album ”El Piano Que Llevo Dentro” in 2003, which is when he formally started his solo career. It is since then that the piano started to be a fundamental part of his repertoire, although he never abandoned danzón, son and changüi. He also adds a bit of Latin jazz to his songs, which was always to his liking and he relied on what Chucho Valdez was doing with Iraquere to find the style he wanted to follow.

the album by Daniel — Cover of the album ”El Piano Que Llevo Dentro” by Daniel Amat

Moving out of Cuba

When Daniel turned 24 years old, he decided to leave Cuba and look for opportunities in other latitudes after marrying his current wife. It is there where his career obviously takes a new direction and many more growth opportunities for the young artist seemed to be surfacing.

While very far away from his homeland, he began collaborating with big bands and symphonic orchestras, but always playing and experimenting with the Cuban genres with which he started his career in the first place.

Since he had already traveled with his father to other countries in previous years due to his work, he developed many friendships and contacts with many people outside of Cuba, so he was able to get to work on his own stuff quickly and without delay. This led him to be called to perform at festivals and events in the United States, Spain and other parts of Europe.

Thanks to the above, Daniel has been fortunate to be able to work in the music branch without the need to look for other jobs as is the case of many other musicians when they emigrate from their respective countries. This has allowed him to focus one hundred percent on his musical projects and to start teaching jazz, Latin jazz, phrasing and many other areas.

Daniel’s current projects

The pianist is very happy because he will soon release a compilation of his first two albums called ”Una Parte de Mi” in vinyl format. For the same, he had the collaboration of his father ”Pancho” Amat, musician Orlando Valle ”Maraca”, maestro Chucho Valdéz, Sixto Llorente ”El Indio”, his piano teacher Ulises Hernández, percussionist Changuito and many more.

Dominican trumpeter Wilson Portuondo talks about La Sonora Nuyorkina

As shown in the most traditional media and digital platforms, Dominican artists belonging to diverse musical genres have been working hard for many years to finally be recognized in the world. That is the case of talented bandleader and trumpeter Wilson Portuondo, with whom we managed to contact to know much more about his life and career.

How Wilson became interested in music

Wilson, our protagonist in this story, became interested in the musical world shortly after his 15th birthday in his native Dominican Republic, which was already well known for various types of merengue at the time. The young man frequently attended concerts performed in parks on weekends, which were free of charge, allowing him to enjoy the bands from his town without representing excessive expenditure for his family.

This was awakening in the boy a great desire to imitate the musicians he saw on stage and be as great as them someday, so he wanted to start studying music and see what he could achieve with that knowledge.

Professional beginnings

Wilson’s first experience as a professional musician came from the hand of the town’s municipal band in the city of Santiago. He also got to play in the municipal band of the firemen and the municipal band of the Dominican National Police, which had a headquarters in the aforementioned city.

Thanks to these groups and others, he specialized in playing classical music and merengue, but things changed greatly when he decided to move to New York as a young adult who was about to celebrate his 20th birthday.

Wilson playing — Wilson Portuondo playing the trumpet live

Wilson as a trumpeter

The instrument for which Wilson is best is the trumpet, which he confesses he began playing almost by accident. His fascination with the trumpet started when he was studying at the Culture and Art Institute while still in Santiago, as it was the first instrument he came in contact with that caught his attention at the institution.

At that time, he would never have imagined that he would play it, but he ended up feeling an enormous love for it and now considers it his favorite instrument among all others. However, he does not limit himself to this, as he can play the piano and is learning to play percussion, which includes the conga, bongo, Dominican tambora, güira and many more.

Once he arrived in New York, he continued committed to learn as much as he could about music and studied at various institutes such as the Harlen School of the Art and later at the State University of New York (SUNY), where he studied classical trumpet for four years until he graduated.

He has learned to play the rest of the instruments through practice and lessons with other musician friends.

Arrival in the United States

When he arrived in New York, Wilson had to take an extra year in high school and, thanks to his studies, he was able to make friends with music students who invited him to enroll in the Harlem School of Art, a place where he had contact with many other people linked to the environment who began to call him to play with them as a freelancer.

Wilson at an event — Wilson Portuondo at the social dance event ”Salsita Social Pa’l Pueblo”

In parallel to this, he was taking dance classes in New York style, which allowed him to attend many social dances and such live music events. Something that the artist noticed at that time was that the groups he saw always played the same songs like ”El Cuarto de Tula”, ”Soy Pilongo”, ”No le pegue a la Negra”, ”Rebelión”, among others. In addition to notice that they did not meet to rehearse, but played together the same as always.

To some extent, he feels that these mistakes on the part of so many orchestras inspired him to create his own project which he would baptize as La Sonora Neoyorkina, since he wanted to offer the public a fresh and new repertoire that did not include the same old thing. However, he always makes sure that he and his musicians rehearse as much as possible so as not to make the same mistakes as other groups.

Among the musicians who are currently in the group, we can mention Anthony Almonte, Osay Calvo, Nestor Villar, Carlos Mena, Carly Maldonado, among others. Venezuelan percussionist Robert Quintero, Luisito Quintero’s cousin, has also played in the band.

However, although they usually do covers of various classic songs, they have also strived to create their own original music, so they already have original songs such as ”Sonora Llegó” and ”Summertime”. Also, the group is making preparations to complete their first studio album next year.

Great Christmas salsa songs and their stories

Christmas is a time of joy where one of the most important elements is music, so we believe this is the best opportunity to feature some of the best Christmas salsa songs that we can remember. Here are the most cheerful songs in Latin music to listen to during the most beautiful time of the year.

Aires de Navidad by Héctor Lavoe and Willie Colón

”Aires de Navidad” is a great song which is part of the Christmas album ”Asalto Navideño Vol. I” from 1971. In the same year, Lavoe and Colón were already making preparations to record an album entirely dedicated to the festivities, indeed, they already had some songs recorded, but they knew that there were still details to finish.

Then, Héctor asked musician Roberto García to join the project that was underway, as they needed a guitarist to accompany them. Garcia accepted the proposal almost immediately and got excited about the project that he even proposed Yomo Toro to join them, to which Hector and Willie agreed with no problems.

The day they agreed to record the material, Toro came in first and began playing a Puerto Rican cuatro when he was scheduled to play the electric guitar. However, Johnny Pacheco, upon hearing the sounds, liked the arrangement and approved it without question.

That is how the four artists set out and recorded what would soon become one of the greatest Christmas hymns in recent times, and it will surely be in thousands of homes around the world this month.

One of the photos taken during the recording of ”Aires de Navidad”

La Fiesta de Pilito by El Gran Combo de Puerto Rico

”La Fiesta de Pilito” is included in the album ”Nuestra Música” by El Gran Combo de Puerto Rico, which was recorded in 1985 as a tribute to the most beautiful and endearing of the Island of Enchantment during the Christmas holidays. Back then, any musical work created by El Gran Combo always became a resounding success once it was released and its members were sure that this would be no exception.

It is then when the composer of one of the main songs of ”Nuestra Música” came on the scene, and we are talking about Luis ”Pilito” Cruz, who would become part of the internationally acclaimed salsa group that same year.

What is known in the first instance about the song is that it did not have a specific name, so it was baptized as ”La Fiesta de Pilito” honoring the composer of its first two verses. Subsequently, the piece was completed with pregones and soneos created by the rest of the orchestra members.

Additionally, they received the support and collaboration from ‘‘El Caballero de La Salsa” Gilberto Santa Rosa, who served as a guest artist for the legendary recording.

Nuestra música at Christmas — Cover of the Christmas album ”Nuestra Música”

Bembé en Casa de Pinki by Richie Ray and Bobby Cruz

”Bembé En Casa de Pinki” is a Christmas song written by the famous duo Richie Ray and Bobby Cruz, which was released in 1971 and is the first single from the Christmas album ”Felices Pascuas”.

The song’s title comes from someone who would be very important in the career of the two aforementioned artists and that was the Panamanian-born diplomat named José Rogelio ”Pinki” Arias. The gentleman was a close friend of Richie and Bobby and, at the same time, director of the Panamanian Institute of Tourism. He used his friendship with the vocalists to invite them to various events in his country, knowing that they would be a complete success with the presence of the duo.

Such was the affection both exponents had for ”Pinki” that they dedicated to him two songs from their extensive repertoire, which were ”Bembé en Casa de Pinki” and one belonging to the album ”El Diferente”.

Among other songs, ”Felices Pascuas” also includes tracks such as ”Bomba en Navidad”, ”Mi Niñez”, ”San José”, and ”Aguinaldo Navideño”.

Felices fiestas at Christmas — Cover of the Christmas album ”Felices Fiestas”

Estelita by La Sonora Ponceña

Another group that never misses a chance to offer their talent to please their fans and make them enter the Christmas atmosphere during the holiday season, leaving great classics that can not be missing every year in our homes and one of them is ”Estelita”.

Something that can never be missed in a Christmas album is that colorful character who always brings playfulness and good humor to the atmosphere. In this case, it is Estelita, who is a party neighbor who always sneaks into the Christmas parrandas in her neighborhood, something that many people will surely feel identified with in various parts of Latin America.

The song was written by the late maestro Joe Torres and was part of the album ”Otra Navidad Criolla!” along with ”Opera Gandinga”, ”Vamonos Pa’l Campo”, ”La Vengo Siguiendo”.