Latin America

Yilian Cañizares, an excellent Cuban musician, studied in her hometown in the strictest tradition of the Russian school of violin

Yilian Cañizares is a Cuban and Swiss musician. She has lived in Switzerland since 2000.

Born in Havana, Yilian Cañizares began studying violin in her hometown, in the strictest tradition of the Russian violin school.

At the age of 14 she obtained a scholarship in Caracas and in 2000 she moved to Switzerland to complete her studies at the Freiburg Conservatory.

Soon after, the main orchestras in the area began to contact her and once settled in Lausanne, she collaborated for six years with different ensembles.

Yilian Cañizares excellent Cuban musician

In Switzerland, she opened up to jazz and decided to embark on a new musical path, including singing in her career as a professional artist.

It was during this period that the artist decided to form a quartet with musicians from Germany, Venezuela and Switzerland (and later Cuba), and the group “Ochumare” was born, with which, just six months after its creation, in 2008, she won the prize of the Montreux Jazz Festival Competition.

From that moment on, his career has been growing steadily. In recent years, she has shared the stage with Ibrahim Maalouf, Omar Sosa, Youn Sun Nah, Richard Bona, Chucho Valdés, Roberto Fonseca, Dhafer Youssef, the Lausanne Chamber Orchestra and El Comité.

She also teaches violin at the Ecole de jazz et de musique actuelle de Lausanne (EJMA).

The success of her albums “Ochumare”, an independent production released in 2013, followed by “Invocación”, under the direction of Alê Siqueira (who has collaborated with Roberto Fonseca, Omara Portuondo), has consolidated her notoriety as an innovative artist, capable of venturing and transcending musical boundaries.

Yilian Cañizares, an excellent Cuban musician, studied in her hometown in the strictest tradition of the Russian school of violin.

She was listed by the French weekly Le Nouvel Observateur as “revelation artist of the year” for her great virtuosity and charisma with which she is able to sing and play the violin.

“My sound reflects the richness and mix of cultures that I carry with me to this day and represents who I am: woman, Cuban, musician and citizen of the world”, said the artist.

Her second album “Invocación” reached the top of the Qobuz – World Music chart and was re-released in a Deluxe edition.

“Aguas”, the album produced in collaboration with Omar Sosa, saw the light of day in October 2018.

Accompanied by another compatriot, Inor Sotolongo on percussion, the duo created an intimate and personal album that reflects the views of two generations of Cuban artists living far from their homeland.

This album is a mix of energetic rhythms and emotional ballads that clearly reflect the unparalleled musical chemistry that exists between the two artists.

It constitutes a powerful and unique fusion of Afro-Cuban roots, classical music and jazz.

On November 15, 2019 was released the new album “Erzulie”, with its new formation Yilian Cañizares & The Maroons and dedicated to the Haitian deity of love and freedom.

This album was recorded in New Orleans and features the participation of numerous guests such as Christian Scott (trumpet), Michael League (double bass), Bill Laurance (piano), Bobby Sparks (organ) and Justin Stanton (keyboards).

Yilian Cañizares es una música cubana y suiza. Vive en Suiza desde 2000.

His style reflects the variety of his influences, with touches of jazz, classical music, Cuban music, with a large space left to improvisation.

The French magazine Les Inrockuptibles speaks of a jazz orchestration mixed with Yoruba ritual percussions.

She sings in Spanish, Yoruba and French and one of her distinctive features is that she sings and plays the violin at the same time.

There are so many influences on this album; Cuban, jazz, Venezuelan, Swiss, that it is difficult to pinpoint in each song which track falls into which category. In fact, they don’t.

Today it is too easy to want to pigeonhole music into one category: this is jazz; this is soul; this is funk. Yilian Canizares, in this wonderful album, breaks the stereotypes and that is why it is a pleasure to listen to it.

Sweet musical outbursts, explosions of improvisation that jump all over the place. He even finds a place to rap on “Iya Mi” and, obviously, it’s brilliant!

If we had to put a label on it, which I’m not thrilled about, I’d say this is a warm jazz album with Latin infused touches and tricks.

The meandering melody of “Beroni Abebe Osun”, the first track on the album, is a good indicator of this.

The throbbing bass, the heartbeat of the track, with its plucked violin, the blood pumping through his veins.

Cañizares is also a linguist, in case that wasn’t enough for us all to admire her.

The way he transitions from Spanish to perfect syllable-perfect French in his version of Edith Piaf’s “Je Ne Regrette Rien” (a beautiful version, by the way) is seamless and you could be forgiven for thinking it’s his first language.

It’s not easy to cover songs as big as Piaf’s classic, but Cañizares does it with style, class and, most importantly, grace.

Anything less than grace in a song like this makes it a bad version. It could be its own track, the strings perfectly light to complement the calmness of the voice and the ease with which Piaf’s lyrics take the weight of the world off our shoulders. I don’t regret a thing.” So simple. Yilian Canizares, we salute you.

And we’ll be on the lookout for the next album.

(kreolmagazine)

Yilian Cañizares – Invocación (2015).

Musicians:

Yilian Cañizares (Violin and vocals).

Daniel Stawinski (Piano)

David Brito (Double bass and electric bass)

Cyril Regamey (Drums and percussion).

Guests:

Akua Naru on Iya Mi

Gabi Guedes Gã & atabaques Rum, Pi, lé

Blaise Lambelet English horn on Laïla

Caxeiras do Divino da Família Menezes, Graça Re Reis & Bartira Menezes Caxeiras & Bartira Menezes &

Brazilian choir in Beroni

Julia Stuller, Gàbor Barta, Ivan Zerpa strings in Non je ne regrette rien

Luis Carbonell Voice in Canciòn de cuna para dormir a un negrito (Lullaby to put a little black boy to sleep)

Juan Carlos Toca Voice in Mapucha

All the songs by Yilian Cañizares except Beroni Abebe Osun (traditional/ Y. Cañizares) and

Non je ne regrette rien (Vaucaire/Dumont)

String arrangement (Non je ne regrette rien ) by André Mehmari

Cyril Regamey uses exclusively Istambul cymbals, Vater drumsticks and Aquarian drumheads.

Information provided (December 30, 2023)

Yilian Cañizares

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¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

I placed the order online on October 25, 2023. By return email, I received confirmation of payment and a promise to receive my copy the following week.

However, after several days I received a delay notification from the supplier. It was understandable that an artist of Sergio George’s stature would trigger interest in acquiring the work that promised to tell his story, perspective and opinion on the music industry. Exactly on November 25, 2023, the order arrived.

¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

As a reader, I was deeply disappointed with the content of the “book”. Attack Sergio! Unbreakable falls short of being an autobiography. I would classify it as a self-help book with little depth, no substance.

Writing a book requires literary knowledge, basing the content on rigorous research and stating the data with mathematical precision.

The cover of the text is appropriate for the trajectory of the artist who is the subject of the text. However, the data on the cover that assures that he is the winner of 19 Grammy awards contradicts the text. Specifically, on the third page of the introduction it says that he is the winner of 18 or 19. Evidently, the recently launched book should not be taken as a reference for a subject of such seriousness.

From the legal page it is clear that Sergio George is the author and that Janice Rodriguez was in charge of editing. Sadly, the work lacked editorial care, which detracts from the literary value of what is presented. There are many expressions that seem to be literal translations from English and that do not necessarily maintain the idiomatic integrity of what the author wants to express. Now, if that were the case, you should stop counting the missing and extra accents.

Having said that, I am going to manage my criticism, since space is limited and the idea is not to write another book about the “book”. Certainly, in the world of the versed salsero, of which I am one, the most awarded producer in Latin music has a great story to tell. But his literary delivery fell short. I understand the intention to approach his complaint as a self-help book. But that grand intention also failed.

I read in each of the 128 pages discontent, loathing, complaint, frustration, resentment and wounded self-esteem. Objectively, you have to read carefully to see that what he claims to do is the opposite of what has brought him so much controversy.

In his usual combative style Sergio George launches harsh criticisms of salsa artists. Resentment has won out over objectivity. Each blow takes away the value of his exposition, until it becomes the outlet that we all need to have at given moments.

Of course, emotional maturity is what prevents one from publishing matters that should remain in the privacy of conversations between the affected parties.

With a high sense of arrogance, characteristic of narcissistic personalities, the author accuses the “great salseros” of having murdered salsa because of their ego, pointing them out as the culprits of the death of the “musical genre”.

This becomes another of the great contradictions of the text. At times he claims that salsa is not a genre, but on multiple occasions he refers to salsa as a musical genre. On the other hand, he says that salsa is in danger of extinction shortly before assuring that it is dead. His point of view in that sense is not clear either, although he does state near the end that there is a legacy that does not die.

This is the contradictory nature of the reading, whose common thread is the attack. That may be the origin of the idea of the title, although at first glance one might think that “Attack Sergio!” is the repetition of the battle cry that invites him to attack the piano, while he prolifically produces music.

I believe in the evolution of the species and I see that the adaptations through which salsa has gone through are similar to the genetic modifications necessary so that, within each species, the fittest survive.

The text has several anecdotes. However, due to the lack of details, these do not add value to the construction of the history of salsa. In some of them, the names of certain characters are not mentioned. I guess the author did not want to enter into a request for relays or preferred not to risk dealing with legal controversies.

With so much that Sergio George has contributed to the history of Latin music, it is a mistake that the book has not been given more structure and objectivity.

Sergio George has been a cornerstone in the history of Afro-Latin rhythms and is the owner of a brilliant musical career that has made many shine. But to that exposure, the text does not do justice either.

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Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

In the early 1970s, the American social landscape was dominated by the Vietnam War and the birth of several protest movements advocating for equality, justice and the defense of human and civil rights, and from sing sing a historic concert.

In the midst of all that collective turbulence, Eddie Palmieri and his orchestra were giving free rein to their social rebellion with a sweeping musical proposal.

But Palmieri’s rebelliousness was not only reflected in his music, but also in his decision to take his group’s sound to atypical and controversial scenarios that would attract the attention of the authorities.

By the beginning of 1972, Eddie Palmieri had already performed in some correctional institutions, including the Louisville Correctional Facility and the Attica and Rikers Island prisons in New York, but the pianist wanted something more.

Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

In those days, a good friend of Eddie Palmieri was incarcerated in the sinister and historic Sing Sing Correctional Facility, also known as Sing Sing Prison, infamous for the reputation of its inmates and for its executions with electric chairs.

It was at that moment that the idea of an unprecedented performance at the facility was born.

Palmieri’s group was not only the orchestra of choice for Hispanics, it was also favored by the majority of African-Americans in the Latin dance world, and at that time the prison population at Sing Sing was composed mostly of Hispanics and African-Americans, so the stage was perfect.

However, it was not easy to perform a concert in a maximum security prison like the dreaded Sing Sing Prison.

However, at the request of Eddie Palmieri himself and with the coordination of Roulette Records and the prison administration, the performance took place on Wednesday, April 12, 1972.

By the beginning of 1972, Eddie Palmieri had already performed in some penitentiary institutions.

Sing Sing Correctional Facility is a New York State Department of Correctional Services prison in Ossining, New York State, United States. The name comes from the original name of the town of Ossining.

It was the third prison in New York State, built in 1825. The state legislature allocated $20,100 to purchase the Silver Mine farm. The prison was to be self-supporting and not require a state budget.

Elan Lynds, a jailer at Auburn Prison (New York’s second prison), brought 100 convicts from Auburn to the new prison and employed them for its construction.

Harris A. Smiler was the first person executed by electrocution at Sing Sing on July 7, 1891. From 1914 until 1971, only the electric chair at Sing Sing was used for executions.

On January 8, 1983, more than 600 inmates in B Block started a riot, taking 17 officers hostage; it ended 53 hours later.

Sing Sing in popular culture

Near the end of Herman Melville’s short story Bartleby, the Scribe, it is mentioned that Monroe Edwards died of tuberculosis in Sing Sing Prison.

There is a song called La cárcel de Sing Sing, written by Bienvenido Brens, which tells the story of a prisoner in this jail who was sentenced to death for killing his wife and her lover. The song was made famous by José Feliciano. It is also performed by Colombian singer-songwriter Alci Acosta.

In addition, it was performed live by the band Corizonas (union of Arizona Baby and Los Coronas) in their live album “Dos bandas y un destino”.

There is a song by the salsa group Conjunto Clásico on the album El panadero released in 1986, called A los muchachos de Sing Sing, which has a message of encouragement to convicts.

There is a song by the French-Tunisian singer-songwriter (Michel) Laurent entitled Sing Sing Barbara, from 1971, which tells the story of an inmate who sends desperate messages of love to his wife from this prison.

There is a song by the Madrid group Los Nikis entitled Diez años en Sing Sing, which also gives title to the tribute album to that group.

There is a song by the Basque group Sorotan Bele titled Sing Singatiko Folk & Rolla.

In 1932 the film Twenty Thousand Years in Sing Sing was shot, directed by Michael Curtiz and starring Spencer Tracy and Bette Davis. The film is based on the book of the same name by Lewis E. Lawes.

In the film Constantine, and in the official Constantine comic book, John Constantine is seen to use the Sing Sing prison chair to connect to hell.

In the film Citizen Kane, protagonist Charles Kane threatens his political rival, Jim Gettys, to send him to Sing Sing, when Gettys informs Kane that he will publish his affair with Susan Alexander in the newspapers if he does not withdraw from the election.

In the film The Pilgrim, Charles Chaplin plays the role of a convict recently escaped from prison, who, when he is at the train station, moves his finger without looking over the board of destinations to choose one at random and falls on Sing Sing, so he repeats the process again when he realizes his unfortunate choice.

In the movie Breakfast at Tiffany’s, Holly Golightly periodically visits inmate Sally Tomato at this prison.

In the movie and musical The Producers, the main characters stop at the same prison and create a musical called Prisoners of Love.

In the video game Driver Parallel Lines, the protagonist spends 28 years in Sing Sing.

In the ABC television series Castle, Sing Sing is cited during an episode of the fourth, fifth and eighth seasons.

In the film noir movie Odds Against Tomorrow, Johnny, the character played by Harry Blafonte, says, “I know they changed his color when they rehabilitated him in Sing Sing.”

In the AMC television series Mad Men, Sing Sing is quoted during an episode of the third season.

In the series Breakout Kings, prisoners are transferred to Sing Sing for their help.

In the song Báilalo como tú quieras, by artist Tego Calderón, the phrase “If rapping was a crime, I’d be in Sing Sing!” appears.

In the horror movie saga Maniac Cop, cop Max Cortell is killed in Sing Sing prison by inmates and is resurrected in the form of a “maniac cop”.

In the Netflix series The Punisher, Arthur mentions to Billy Russo having been imprisoned 10 years in Sing Sing, in episode 4 of the second season.

In the novel “The Ppsychoanalyst” by John Katzenback published in 2002, the Sing Sing prison where a man served six months is named.

In Georges Simenon’s novel The Hound Dog starring Commissar Maigret, one of the characters spends several years in Sing Sing prison.

In the comics “Mortadelo y Filemón”, by cartoonist Francisco Ibáñez, when a character has done something barbaric, he is sentenced to Sing Sing prison and appears with the typical black and white striped prisoner’s suit, chopping stone with an iron ball chained to his leg.

In the series Law and Order the Sing Sing prison is constantly mentioned.

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Orquesta la Identidad is one of the most nationally and internationally recognized groups in the salsa genre

Winner Identidad Orchestra on several occasions of the Cali fair disc with songs such as MUJERES in 1987, QUIÉREME in 1991 and COMO YO TE AME, the most played song at a historical level in the different Latin FM stereo stations in 2003.

Among other works of recognition such as: LAS COSAS SON COMO SON, TU DESDÉN, GOLPE DE GRACIA, SI ELLA VOLVIERA, DESENGAÑOS, among others.

This group was founded by the Colombian composer and musician Carlos Enrique Navia in 1981 in the capital of salsa in the city of Cali – Colombia, which came to fame in 1987.

Following the release of his first album entitled LA IDENTIDAD, under the Codiscos label, musical production that includes the works, LAS COSAS SON COMO SON, Y ME QUIERES, PARA QUERERTE, CADA CUAL, POR SU LADO, LA FUMA, GENTE CORRIENTE, BRABAJE and MUJERES.

Work that was awarded as the official album of the Cali Fair and gave him the opportunity to make his first international tour of the United States, visiting the states of Florida, New York, California, Texas, Illinois, among others.

This group had a very important boom in Colombia and the whole world for being elected revelation orchestra of the year and gave him the participation in the most important events and fairs throughout the Colombian territory.

Thanks to the success and recognition, the orchestra recorded its second album called LA MÚSICA in 1989, album that expanded its audience in other countries such as: Mexico, Venezuela and Ecuador with the works TU DESDÉN, AMOR ETERNO, TE QUIERO TANTO, LA MÚSICA, SON SABORIONDO, SENTIMIENTOS POR TI and BOMBA NAVIDEÑA, work that occupied the first places in the FM radio stations, preselected as Cali’s fair disc and elected the second most important song of the fair.

Orquesta la Identidad is one of the most nationally and internationally recognized groups in the salsa genre

Identidad Orchestra in 1990 the orchestra recorded its third album entitled UN TOQUE DE MISTERIO, album produced by the renowned Venezuelan musician Cesar Monges “Albondiga” who has participated in countless productions of artists and orchestras of international recognition in the salsa genre.

After a long tour in the United States, the orchestra arrives in Colombia to record their fourth album entitled SALSA CON ENERGÍA, a product produced in the studios of Grupo Niche.

This production included songs such as: LA RETIRADA, ESE SOY YO, BOROJO, AGITACIÓN, SI ELLA VOLVIERA, LLEGASTE A MI VIDA, DESENGAÑOS and COMO YO TE AMÉ, one of the hits of preference of our listeners, occupying the first places and beating the record of the most played song in all salsa genre stations in Colombia, United States, Mexico, Venezuela, Ecuador, Peru, Spain, Italy and many more countries.

ORQUESTA LA IDENTIDAD is an orchestra that has been characterized by its perseverance.

Identidad Orchestra in 1992 they recorded their fifth album titled PROFESIÓN SALSA and ended their relationship with the record label Codiscos to start their independence as a brand under the direction of composer, singer and founder Carlos Enrique Navia to produce their works as an independent record label.

Orquesta la Identidad is one of the most nationally

This album included songs such as: GOLPE DE GRACIA, PECADORA, COCTEL DE AMOR, SI YO PUDIERA, SEÑORA CALI, MUJER AMADA, TE PILLÉ, NO IMPORTA, among others. This product was widely distributed in countries such as Ecuador, Venezuela, Mexico, Peru, United States, among others.

As a record label Identidad Producciones, ORQUESTA LA IDENTIDAD has recorded albums such as A TIEMPO, a production that has captivated the salsa public with songs like: CUANDO EL AMOR SE ACABA, MI NIÑA, LA ESQUINA DEL MOVIMIENTO, LE CANTO AL PACÍFICO, TE QUIERO Y TE AMO, TU DESDÉN, LA FUMA and singles such as: POR SIEMPRE ELLA, FRACASO, DICIEMBRE EN CALI, SON PA EL BAILADOR, COLOMBIA REAL, A MI PADRE, BENDICIÓN DE MADRE, MI GUAGUANCÓ, HOMENAJE A LA SONORA MATANCERA, GUAYAQUIL among others.

Works that are played on Latin radio stations and massively on digital platforms. Orquesta LA IDENTIDAD is a group that has participated in important Latin music events such as: SEBASTIÁN DE BELALCÁZAR awards on two occasions and nominated for best salsa genre orchestra, event organized by FALCON MANAGEMENT BOOKING & ENTERTAINMENT, INDEPENDENCE FESTIVAL OF GUAYAQUIL – ECUADOR, INDEPENDENCE FESTIVALS OF COLOMBIA IN THE UNITED STATES, WORLD SALSA FESTIVAL, BILLBOARD LATIN MUSIC, FESTIVAL OF ORCHESTRAS IN COLOMBIA AND FAIRS THROUGHOUT THE COLOMBIAN TERRITORY.

ORQUESTA LA IDENTIDAD is currently preparing the celebration of 40 years of artistic career, an album that will include the greatest hits such as MUJERES, QUIÉREME, GOLPE DE GRACIA, MUJER AMADA, LAS COSAS SON COMO COMO SON, TU DESDÉN, UN TOQUE DE MISTERIO, COMO YO TE AMÉ and DESENGAÑOS, which will have collaborations with national and international artists of recognition in the salsa genre and is preparing to make its next international tour of the United States year 2024.

CONTACT Carlos Enrique Navia General Manager Contact: 310 822 8068 – 317 642 1031 Email: [email protected]

ORQUESTA LA IDENTIDAD

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The Royalty of our Latin Music Pete “El Conde” Rodríguez first singer signed by Fania Records label

Pedro Juan Rodríguez, Pete “El Conde” Rodríguez “La Realeza de la Salsa” (Born in Ponce, Puerto Rico on January 31, 1933).

First singer signed to the Fania Records label in conjunction with the Johnny Pacheco Orchestra and of outstanding participation with the Fania All Stars and his own orchestra.

His father, who made his living as a musician playing in a string quartet that entertained parties and social gatherings, guided him during his first steps as a musician.

By the age of 6, little Pedro was very skilled with the bongo and singing popular Puerto Rican songs of the time.

Things became difficult after the death of his father and as a teenager Pete had to emigrate to the United States (1946) to live with his aunt in New York.

Once in New York, Pete managed to establish himself as a percussionist in the Orquesta Oriental Cubana. Before, long before joining the great Pacheco, Pete had to go through several orchestras among which stand out: Las Jóvenes Estrellas de Cuba (57), the Típica Novel and the Broadway from which he left for personal reasons.

In May 1962 Pete Rodriguez (he was not yet called El Conde), joined Pacheco in a Charanguero orchestra (flute, violin, rhythm and chorus). The first album with Pacheco was Suavito in 1963.

By 64 Jhonny Pacheco and Jerry Massucci founded Fania Records and created the internationally recognized Fania All Stars.

Pete was the first singer that Fania had, and on his shoulders was the responsibility of taking that project forward. On Fania’s first album Cañonazo (1964) Pete performs the song Fania, a composition by Josualdo Bolanos, with which the orchestra was inaugurated.

The Realiza of our Latin Music Pete "El Conde" Rodriguez — The Realiza of our Latin Music Pete “El Conde” Rodriguez

Rodriguez’s first appearance with Fania was at the Greenwich Village Red Garter Club in 1968.

For reasons of life Pete had to leave Jhonny Pacheco’s group; the concrete reasons for this separation will remain a mystery, but it seems that his departure was due to personal disagreements with other members of the group.

After Pacheco, Pete packed up his motets and moved with Rey Roig and the Sensación group (1964-1968). From his time with this group w For the years 66-67, Pete returned to the ranks with Pacheco. This was a more mature stage where the marvelous duo achieved their greatest hits: Azuquita Mami, Convergencia, La Esencia del Guaguanco, Sonero, Viralo al Reves and others.

The turmoil of the time, the world events, the new way of dressing and people’s way of thinking made Pete change his appearance; he let his beard grow and changed his hairstyle a little. This change gave him a new image and a new name “EL CONDE”.

The Pacheco-Rodriguez duo lasted approximately 8 years, since in 74 El Conde decided to go solo.

That same year El Conde released his best selling and Grammy award winning album El Conde (1974). Two years later (1976) El Conde became part of the Salsa Hall of Fame immortalizing himself with Catalina la O.

With the appearance of Salsa Romántica and the onslaught of Dominican merengue in the markets, salsa entered a crisis which was reflected in the musical work of El Conde. So between 1983 and 1990 El Conde managed to record only 5 albums of which Salsobita (1987) stands out.

In 1993 El Conde made way for his son Pete Emilio and his daughter Cita Rodriguez who joined the group as second voice and backing vocalist.

The family was already complete because Francis Rodriguez, his wife, was in charge of the administrative and financial part of the group.ere the following songs Salsa, Bailando Conmigo and his hit El Rincón.

El Conde made his last recording on the Masterpiece Album (1999) with Tito Puente (1923-2000) and Eddie Palmieri. This album is considered posthumous because in that same year (2000) Tito and El Conde passed away.

Cepelio de Pete El Conde Jhonny Pachoco, Cheo Feliciano, Ismael Miranda y Papo Lucca

El Conde had suffered from heart problems for many years, but was always reluctant to have open heart surgery. Pete “El Conde” Rodriguez passed away of a heart attack on Saturday, December 2, 2000.

His remains were taken to his native Puerto Rico. He is survived by his wife Francis, his two sons Cita and Pedro Emilio, and his grandchildren.

Remains of Pete “El Conde” Rodríguez finally rest on the island. December 7, 2023 – After his death in 2000, the remains of Ponceño singer Pete “El Conde” Rodríguez were transferred from New York to the National Cemetery for veterans in Bayamón.

Source: El Pozo de la Salsa

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