• Skip to primary navigation
  • Skip to main content

International Salsa Magazine

  • HOME
  • Previous editions
    • 2026
      • ISM / August 2026
      • ISM / July 2026
      • ISM / June 2026
      • ISM / May 2026
      • ISM / April 2026
      • ISM / March 2026
      • ISM / February 2026
      • ISM / January 2026
    • 2025
      • ISM / December 2025
      • ISM / November 2025
      • ISM / October 2025
      • ISM / September 2025
      • ISM / August 2025
      • ISM / July 2025
      • ISM / June 2025
      • ISM / May2025
      • ISM / April 2025
      • ISM / March 2025
      • ISM / February 2025
      • ISM / January 2025
    • 2024
      • ISM / December 2024
      • ISM / November 2024
      • ISM / October 2024
      • ISM / September 2024
      • ISM / August 2024
      • ISM / July 2024
      • ISM / June 2024
      • ISM / May 2024
      • ISM / April 2024
      • ISM / March 2024
      • ISM / February 2024
      • ISM / January 2024
    • 2023
      • ISM / December 2023
      • ISM / November 2023
      • ISM / October 2023
      • ISM – September 2023
      • ISM – August 2023
      • ISM July 2023
      • ISM Edition June 2023
      • ISM – May 2023
      • ISM April 2023
      • ISM March 2023
      • ISM February 2023
      • ISM January 2023
    • 2022
      • ISM December 2022
      • ISM November 2022
      • ISM October 2022
      • ISM September 2022
      • ISM August 2022
      • ISM July 2022
      • ISM June 2022
      • ISM May 2022
      • ISM February 2022
      • ISM January 2022
    • 2021
      • ISM December 2021
      • ISM November 2021
      • ISM October – 2021
      • ISM September 2021
      • ISM August 2021
      • ISM July 2021
      • ISM May 2021
      • ISM April 2021
      • ISM June 2021
      • ISM March 2021
      • ISM February 2021
      • ISM January 2021
    • 2020
      • ISM December 2020
      • ISM November 2020
      • ISM October 2020
      • ISM September 2020
      • ISM August 2020
      • ISM July 2020
      • ISM June 2020
      • ISM May 2020
      • ISM April 2020
      • ISM March 2020
      • ISM February 2020
      • ISM January 2020
    • 2019
      • ISM December 2019
      • ISM November 2019
      • ISM October 2019
      • ISM Septembre 2019
      • ISM August 2019
      • ISM July 2019
      • ISM June 2019
      • ISM May 2019
      • ISM April 2019
      • ISM March 2019
      • ISM February 2019
      • ISM January 2019
    • 2018
      • ISM December 2018
      • ISM November 2018
      • ISM October 2018
      • ISM September 2018
      • ISM August 2018
      • ISM July 2018
      • ISM June 2018
      • ISM May 2018
      • ISM April 2018
      • ISM March 2018
      • ISM February 2018
      • ISM January 2018
    • 2017
      • ISM December 2017
      • ISM November 2017
      • ISM October 2017
      • ISM September 2017
      • ISM August 2017
      • ISM July 2017
      • ISM June 2017
      • ISM May 2017
      • ISM April 2017
      • ISM March 2017
      • ISM February 2017
      • ISM January 2017
    • 2016
      • ISM December 2016
      • ISM November 2016
      • ISM October 2016
      • ISM September 2016
  • Spanish
  • Download Salsa App
    • Android
    • Apple

Latin Jazz

Edward Arcila The “Sonero” of Puerto Cabello Keeping the Essence of Contemporary Salsa Alive

When discussing the soneros who have kept the flame of traditional salsa burning in Venezuela, it is impossible to overlook Edward Arcila, proudly known in the Latin music scene as “El Sonero de Puerto Cabello.”

This moniker not only pays homage to his hometown, but also highlights a quality that is increasingly rare in today’s music industry: an innate gift for soneo real-time vocal improvisation and a deep respect for the most authentic roots of Afro-Latin music.

Edward Arcila El Sonero de Puerto Cabello
Edward Arcila El Sonero de Puerto Cabello

In an ever-evolving musical landscape dominated by commercial fusions, Arcila emerges as a guardian of the traditional sound, proving that salsa de golpe continues to beat strongly in the veins of the Venezuelan Caribbean.

Roots, Identity, and a Passion for Soneo:

Born in the historic coastal city of Puerto Cabello, Carabobo, Arcila has dedicated much of his life and artistic career to defending the sound of salsa brava, Cuban son, and mambo.

Self-taught and deeply connected to local popular culture, he developed a unique cadence from a young age alongside a sharp ear for the clave and tumbao.

Edward Arcila’s style stands out through a seamless combination of:

  • Interpretative Power: A strong, pitch-perfect voice full of maña (vocal flair and street smarts) that cuts through the orchestra without getting lost in the brass section.
  • Stage Presence: A charismatic charisma that instantly connects with both dancers and demanding music aficionados.
  • Improvisation Skills: The ability to ride the beat of the drum with fluid, coherent verses the true trademark of a real sonero

Homage to the Greats: The Art of Honoring a Legacy:

Throughout his solid musical career, Edward Arcila has not only built his own repertoire, but has also paid continuous tribute to the immortal figures who shaped the golden era of the genre.

Edward Arcila El Sonero de Puerto Cabello que Mantiene Viva la Esencia de la Salsa Contemporánea
Edward Arcila El Sonero de Puerto Cabello que Mantiene Viva la Esencia de la Salsa Contemporánea

His admiration for legends such as Tito Rojas (“El Gallo de la Salsa”) and master Justo Betancourt has allowed him to reinterpret classics of the Latin American musical heritage with his own unique signature.

Far from simple imitation, Arcila approaches these historical compositions with immense vocal maturity, stamping his own personality onto every track and thoughtful soneo. This quality has been widely acclaimed by critics and audiences who long for the wit, swagger, and emotion of the 1970s and ’80s urban Caribbean.

“Salsa brava isn’t sung with just the voice; it is sung through lived experience, respect for the drum, and a commitment to keeping alive the memory of those who paved the way.”

Reach, Collaborations, and the Venezuelan Salsa Scene:

Edward Arcila’s voice has resounded across multiple platforms, fronting major orchestras and bands throughout the country. His steady presence at international festivals, music collector gatherings, and packed concerts solidifies his relevance within the salsa circuits of Venezuela and the broader region.

Profesor Carlos Colmenarez y Edward Arcila
Profesor Carlos Colmenarez y Edward Arcila

He has shared the stage with renowned instrumentalists and bandleaders, serving as a bridge between old-school masters and newer generations eager to learn the art of authentic soneo. His tireless work not only energizes the cultural scene in Carabobo, but also highlights Puerto Cabello as an endless reservoir of Afro-Latin talent.

A Contemporary Champion of Traditional Salsa

Within the Venezuelan musical landscape, Edward Arcila stands as one of the most respected contemporary figures. In an era where the genre faces the challenge of preserving its identity against short-lived trends, his music embodies perseverance, technical rigor, and a devotion to tradition.

More than just a performer, Edward Arcila is a cultural ambassador.

Arcila emerge como un guardián del sonido tradicional
Arcila emerge como un guardián del sonido tradicional

His singing continues to remind audiences old and new that true salsa isn’t measured by fleeting fads, but by the power of emotion, the quickness of improvisation, and the untamed heartbeat of the sonero.

Also Read: Ronald Gómez One of the Most Respected Young Soneros of the New Generation

Andy Montañez “El Niño de Trastalleres” His Eternal Voice and Generational Legacy

From the Streets of Santurce to the Pinnacle of the Global Salsa Movement.

The history of Latin music cannot be written without dedicating a chapter of honor to Andrés Montañez Rodríguez, known universally as Andy Montañez.

Born on May 7, 1942, in the working-class neighborhood of Trastalleres in Santurce, Puerto Rico, Andy didn’t just become one of the most prodigious and charismatic voices in the genre he also became a fundamental pillar in bringing salsa to international acclaim and preserving its legacy.

Andy Montañez El Niño de Trastalleres
Andy Montañez El Niño de Trastalleres

Growing up in a humble environment rich with musical nuance shaped his artistic sensitivity from a young age. Influenced by the boleros of the era, música jíbara (Puerto Rican folk music), and the Afro-Caribbean rhythms echoing from every corner of his neighborhood, young Andrés quickly proved to have a powerful, pitch-perfect baritone voice packed with an incomparable emotional quality. However, no one could have imagined that the boy from Trastalleres would ultimately become a living legend of Caribbean music.

The Golden Era with El Gran Combo de Puerto Rico (1962–1977)

His definitive leap into professional music came in 1962. Following the breakup of Cortijo y su Combo, Rafael Ithier founded El Gran Combo de Puerto Rico and recruited Andy Montañez as a lead vocalist alongside Pellín Rodríguez. This vocal duo became the driving engine that propelled the group toward resounding success for fifteen years.

Together with “La Universidad de la Salsa” (The University of Salsa), Andy immortalized tropical music classics that remain alive in the collective memory of dancers to this day. Tracks like “Las Hojas Secas,” “Julia,” “Un Verano en Nueva York,” “El Barbero Loco,” “Vagabundo,” and “Un Alma Buena” not only dominated radio charts across Latin America, but also defined the sound of salsa throughout the 1970s.

Su Voz Eterna y su legado transciende en generaciones.
Su Voz Eterna y su legado transciende en generaciones.

Key Milestone in His Career:

Andy Montañez’s time with the Puerto Rico All Stars represents a brilliant chapter in the history of salsa boricua. Conceived in the mid-1970s under the leadership and vision of trombonist and producer Frankie Gregory, the supergroup was born as Puerto Rico’s answer to the New York Fania All-Stars phenomenon, bringing together the island’s elite instrumentalists, arrangers, and vocalists.

“His participation in the Puerto Rico All Stars not only reaffirmed the group’s musical patriotism, but also served as a bridge to sonic maturity just before he went on to establish his own orchestra in 1980.”

For true connoisseurs and collectors of salsa dura, the presence of “El Niño de Trastalleres” in the Puerto Rico All Stars left an indelible mark, proving that his voice fit just as seamlessly into a charanga or combo format as it did into the technical rigor of a big band or all-star super-orchestra.

Andy Nacido el 7 de mayo de 1942 en el populoso barrio de Trastalleres, en Santurce, Puerto Rico
Andy Nacido el 7 de mayo de 1942 en el populoso barrio de Trastalleres, en Santurce, Puerto Rico

His ability to transition from a rhythmic guaguancó to a romantic bolero with equal mastery solidified the foundation of his popularity.

La Dimensión Latina and International Consolidation:

In 1977, Andy Montañez made one of the riskiest and most talked-about decisions of his career: leaving El Gran Combo to move to Caracas and join La Dimensión Latina, filling the shoes left by Oscar D’León.

Although the challenge was daunting given the massive void left by the departure of the “Sonero del Mundo,” Montañez showcased his versatility and profound respect for the clave.

In Venezuela, he built a brilliant era, recording timeless hits such as “El Eco de un Tambor,” “Son de la Loma,” “Cantares,” and “Pan de Piquito.”

His tenure with La Dimensión Latina reaffirmed his status as a premier vocalist and further strengthened his emotional bond with the Venezuelan public, where he became a beloved cultural icon.

Solo Career and New Sound Fusions:

In the early 1980s, Andy returned to his homeland to launch his solo career, backed by his own orchestra and collaborating consistently with top-tier arrangers.

During this period, he managed to stay at the top of the romantic and sensual salsa scene without losing the gritty street groove and authentic Caribbean sabrosura.

Memorable anthems that defined generations emerged from this era, including:

  • “Casi Te Envidio”
  • “Payaso”
  • “Cobarde, Cobarde”
  • “Me Gusta”
  • “Milonga para una Mirada”

True to his restless creative spirit, Andy never hesitated to experiment. Throughout the 1990s and 2000s, he explored musical fusions by incorporating elements of traditional bolero alongside Trío Los Andinos, as well as venturing into reggaeton and urban rhythms with young Puerto Rican artists like Daddy Yankee and Julio Voltio. This open-minded approach allowed him to connect with new generations of listeners without ever betraying his salsa roots.

Legacy, Cultural Impact, and the Stamp of “El Niño de Trastalleres”:

Andy Montañez’s legacy extends far beyond his discography; he represents a symbol of Caribbean identity and pride.

Andy dice Gracias Puerto Rico
Andy dice Gracias Puerto Rico

His talent has been recognized with numerous global awards, including the prestigious Latin Grammy Lifetime Achievement Award in 2006 (for his album AM/PM Línea Directa alongside Cuban singer-songwriter Pablo Milanés), underscoring his ability to build bridges between salsa, trova, and the singer-songwriter tradition.

Beyond his flawless vocal range and undeniable stage presence, what truly sets Andy Montañez apart is his human warmth, genuine charisma, and the grounded humility he has always maintained.

Despite performing on the world’s grandest stages, he has never forgotten where he came from he will always proudly be “El Niño de Trastalleres.”

Andy Montañez de las Calles de Santurce a la Cúspide del Movimiento Salsero Mundial
Andy Montañez de las Calles de Santurce a la Cúspide del Movimiento Salsero Mundial

His voice remains a guiding light and an essential reference point for soneros everywhere who seek to master the art of singing with heart, rhythm, and authentic Caribbean soul.

Read Also: El Mulato Mayor Jerry Rivas and His Half-Century Legacy with El Gran Combo de Puerto Rico

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

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

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

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

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

The Grand Finale at the Tempo Arena

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

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

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

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

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

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

Cutting-Edge Sound, Tributes, and a Global Vision

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

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

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

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

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

The Enduring Power of Salsa on European Soil

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

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

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

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

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

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

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

By: Titouan Maza & Jean Paul Pourque.

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

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

 

International Salsa Congress in Buenos Aires

Latin America / Argentina / Buenos Aires

The International Salsa Congress in Buenos Aires, Argentina, runs from September 9th to 11th, featuring three incredible nights and eight workshops—all with high-quality production values ​​designed to make your weekend unforgettable.

International Salsa Congress in Buenos Aires
International Salsa Congress in Buenos Aires
Congreso Internacional De La Salsa en Buenos Aires - Photo
Congreso Internacional De La Salsa en Buenos Aires – Photo

The participating artists include:

  • Adrián and Anita: five-time world champions (Uruguay and Brazil). Jessica Quiles: world champion in *pasos sueltos* (footwork) (Puerto Rico).
  • Gabriel Salgado and Leticia Beltrán: leading figures in Argentine bachata.
  • Carlos Aragón: Mambo-on-2 director and a key figure in the Argentine dance scene.
  • Braulio Carazo and Valentina Salari: International Bachata Contest (Uruguay) runners-up and leading figures in Uruguayan bachata. Leonel Silva: dancer and leading figure in Uruguayan salsa.
Congreso Internacional De La Salsa en Buenos Aires - Full Pass
Congreso Internacional De La Salsa en Buenos Aires – Full Pass

The event’s choreographers are:

Alumine Oye Chico

Habanna Mix

International Salsa Congress in Buenos Aires - Registration open
International Salsa Congress in Buenos Aires – Registration open

We were also presented with the schedule of activities for the three-day event, as follows:

  • Friday the 9th: Kicking off at 10:30 PM (22:30) with WORLD SALSASTARS (International Group Competition).
  • Saturday the 10th: Four workshops begin at 4:00 PM (16:00). The main congress party starts at 11:00 PM (23:00); guests will enter the VIP area for a surprise opening ceremony, followed by world-class national and international shows and incredible sets by national and international DJs.
  • Sunday the 11th: Four workshops take place starting at 4:00 PM (16:00), followed by the final party opening in the evening, marking the conclusion of the Salsa Congress.
International Salsa Congress in Buenos Aires - Boxes Vip
International Salsa Congress in Buenos Aires – Boxes Vip
International Salsa Congress in Buenos Aires - 2
International Salsa Congress in Buenos Aires – 2

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

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

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

Willie Rosario
Willie Rosario

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

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

Don Perignon y La Puertorriqueña
Don Perignon y La Puertorriqueña

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

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

multitud
multitud

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

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

Photo of Julito Alvarado: (c) Bella Martínez

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

Bella Martinez Puerto Rico

Also Read: Bella Martínez, Salsa’s Irreverent Writer

 

  • Page 1
  • Page 2
  • Page 3
  • Interim pages omitted …
  • Page 22
  • Go to Next Page »

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