Interviews

John and Liz reveal details of the 16th annual SF Salsa Festival

As is tradition every year, we went back in touch with the organizers of the San Francisco Salsa Festival, John Narváez and Elizabeth Rojas, who treated us with the kindness and affection of always. The dancers and dance instructors once again spoke about the details of the festival’s organization and one or another incident that did not become public, so fans of salsa and such events cannot miss it.

They also talked about how they have done since the 2025 edition and what they will do from now until next year’s edition.

John and Liz dancing at the San Francisco Salsa Festival

What John and Liz have done since the 2025 San Francisco Salsa Festival

After the 2025 edition, John described the rest of the year as sensational because his dance studio has maintained the expected success and his company enjoys the work of of new members who have contributed with their talent to help it grow. In addition to that, their classes are full of people eager to learn to dance, take care of their bodies, keep their minds healthy, and have a more active social life.

He also recognizes that the Bad Bunny phenomenon helped them a lot, as they’ve welcomed many people who want to learn to dance salsa after the the boom caused by a Super Bowl full of latinidad everywhere. This has also made the celebrated ones at weddings and other family events to celebrate with salsa, so guests do not want to be left behind and seek to dance it as well as possible.

When an event has been organized for 16 years in a row, those involved already have a system by which they are ruled, so there are few surprises that John and Liz could find thanks to so much experience under their belt. However, there may be things that catch them off guard and ,in this case, it was the economy. This time, they found that everything was much more expensive.

After reviewing expenses, they noticed that the flights of the artists and hotel costs were much higher than in previous years, so they were forced to take certain actions, such as hiring fewer dance artists. They were careful to bring only the best they could find to do a tremendous show, which fortunately occurred.

John and Aura dancing — John Narvaez and dancer Aura Moreno dancing at the San Francisco Salsa Festival

They also noticed that many people could not attend the festival, so they offered numerous discounts, press passes, and the opportunity to volunteer for the organization.

Visa problems

The main disadvantage faced by John and Liz last year was the delay in the approval of visas for the members of La Máxima 79, so we wanted to know how it had gone this year. Well, as it turns out, it did happen again and two couples of dancers were unable to attend because their visas were denied, so they had no choice but to invite residents of the United States to prevent that headache.

Of course, it must be added that bringing people from other places implies additional costs that do not do any good to them right now. For the same reasons, other festival organizers are doing the same thing.

Principal guest artists

The main attractions at this festival were Charlie Aponte, Edgardo Cambón, and Cabanijazz, who of course, did a magnificent job. The big surprise of the festival was definitely Charlie Aponte, with whom they managed to have contact through a well-known Mexican promoter who acted as a link between the dancers and the artist.

The agreement was made as recently only in January, that is, a couple of months before the event. That is when John contacted Jeannette Santiago, Charlie’s manager and wife, told her who he was, and mentioned the mutual friend they had in common. He then managed to close the deal with her and have the Puerto Rican singer at the event, which came as a very pleasant surprise to those who had been planning to attend for months.

Edgardo Cambón playing at the San Francisco Salsa Festival

Preparations for next year

As every year, after an edition is completed, John and Liz are already thinking about what they will do for the next one. In fact, just the day before this interview, they had a work meeting to start planning everything and thinking about who they will invite for 2027.

They are thinking about inviting La Máxima 79 again. In fact, they have already talked to their lawyer responsible these matters and agreed to carry out the relevant procedures to finally have them at the festival, as they have wanted for a long time. In case the invitation is not given effect, they also have their eyes on Jimmy Bosch and Hermán Olivera. Both have performed in previous editions prior to the pandemic and were sensational, so they are held in good esteem by the organization.

They also mentioned that the venue for the next two editions will continue to be the Marriott Hotel Waterfront, as the location is beautiful and very suitable for an event of this magnitude.

Cabanijazz playing — Cabanijazz Project playing at the San Francisco Salsa Festival

‘‘El Griego Rumbero’’ visited the Salsa Museum and donated some objects

The artist we will talk about today is a very particular case, since he comes from a country which is not usually related to salsa or Latin music in general. However, the passion for these rhythms has captivated people from all over the world, so it is not surprising that our guest has experienced the same thing.

We’re talking about the Greek-born trombonist and composer Demetrios Kastaris, whom El Rubio Boris and I were fortunate to welcome at the Salsa Museum. Here’s a little of his fascinating story.

Demetrios’ early years

Demetrios was born in Thessaloniki, Greece, but moved with his family to the United States when he was just two years old. After living in Ohio for a few years, the family moved again, but this time to St. Louis, Missouri, a place that would be critical to the training of the Young man in the times to come.

The first contact of the boy with music was in elementary school during a live performance by a classical music quintet, but what really captivated him was a demonstration of a slide trombone by a member of the St. Louis Symphony Orchestra. It was at that instant the aforementioned instrument inspired Demetrios to take trombone lessons and join the school concert band.

More importantly, as Demetrios grew older, he spent countless hours practicing the trombone, especially in summer when he was free from school work. Finally, On reaching the age of 17, his perseverance began to bear fruit, and he got the opportunity to rehearse with the Stan Keaton Jazz Orchestra, which was the first great experience for the teenager. Just one year later, he sang as a soloist at the Classical Rimsky-Korsakov Concerto.

Other than that, Demetrios received the John Philip Sousa Band Award just before graduating from high school. He then studied music education at the University of Missouri-St. Louis, when he played in the jazz band and won several awards with the group.

Cover of the album ''El Griego Rumbero'' — Cover of the album ”El Griego Rumbero” by demetrios Kastaris

Moving to New York

Two years after having studied in Missouri, Demetrios moved to New York, where he received a scholarship that allowed him to attend New York University and take more steps in his musical career. While completing his studies, he met a bandleader on the subway and was invited to a rehearsal where he was given the opportunity to arrange Afro-Cuban jazz pieces for the first time in his life.

Latin music and its rhythmic features made such an impression on Demetrios that he began attending concerts by many of its great exponents, such as Willie Colón, Eddie Palmieri, Ray Barretto, Tito Puente, Mongo Santamaría, and many others. This led him to transcribe and conscientiously analyze these artists’ songs to satisfy his curiosity and learn more about these rhythms.

After graduating with honors, he earned a masters degree in jazz from the Manhattan School of Music. Soon after, he was already teaching in public schools while performing with one of the bands of the Concord Resort Hotel.

Other important details of his career

For over 50 years of artistic career, Demetrios has had the opportunity to perform with big Latin stars such as Tito Puente, Luisito Quintero, Alfredo De La Fé, Ray Barretto, Charlie Palmieri, Herencia Latina, Oscar Hernández from The Spanish Harlem Orchestra, and many others.

Already in the decade of 1980, the artist founded the Latin-Jazz Coalition and recorded several of his original compositions in genres such as Brazilian and Afro-Cuban jazz. In certain Circles, his work has earned him the nickname of “El Griego Rumbero”, a moniker by which he is still known today.

Johnny Cruz, Demetrios Kastaris and El Rubio Boris

Much more recently, Demetrios was invited to play with Los Leales de Cuba at the Buena Vista Curry Club and also to rehearse with Los Muñequitos de Matanza, which was a very learning afternoon and a memorable experience for him. Thereafter, he traveled to Cuba on several occasions to learn much more about this music.

Visit to the Salsa Museum

Just two years ago, Demetrios visited the Spanish Harlem Salsa Museum directed by yours truly and spent an enjoyable time with our entire team but he did not come alone. He brought us his photograph and a poster of the Latin Jazz Coalition, which were mounted on a wall alongside many other photographs of stars such as The Fania All Stars, Hector Lavoe, Tito Puente, Celia Cruz, El Gran Combo de Puerto Rico, Larry Harlow, and many others.

His childhood trombone was also added to our extensive display of objects donated by artists and their families. This took place on March 20, 2024, and the instrument remains at our institution to this day as a reminder of a Greek man’s love for our music and a thank you to his dedication over the years.

Jairo Varela Music, Identity, and Social Narrative

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

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

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

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

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

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

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

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

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

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

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

Jairo Varela (1949–2012)

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

Jairo Varela. Música, Identidad y Narrativa Social

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

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

About the Author

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

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

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

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

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

Press Contact: [email protected]

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

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

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

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

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

How Diana got into the world of music

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

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

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

Diana’s first opportunity with The Bicho Brothers

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

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

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

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

Soul Sacrifice

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

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

Diana’s Mambo Maniacs

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

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

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

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

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

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

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

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

Carmen Nydia cantando — Carmen Nydia Velázquez singing live

Carmen’s education and start in acting

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

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

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

Kiosko Budweiser and Susa Cruz

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

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

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

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

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

Tiempo de Cantar

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

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

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

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

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

Hacienda Susa

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

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

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