Latin Jazz

The Jeque and his Band present: “Ultimatum”, a musical gem with Hermán Olivera

A masterful fusion that redefines Guaguancó and Cha-Cha, celebrating the group’s tenth anniversary.

El Jeque y su Banda is a salsa ensemble based in Venezuela.

Under the direction of its founder and general manager, Lic. Ángel Martínez “El Jeque,” and with the impeccable musical direction, arrangements, and piano work of the renowned William “Willie” Melo, the band has established itself as a benchmark in the genre.

El Jeque y su Banda presenta “Ultimátum”, una joya musical junto a Hermán Olivera

Approaching ten years of professional trajectory, maintaining their momentum through persistence, passion, and dedication to their craft, the group celebrates this anniversary with the release of their fourth studio production: Evolución…El Jeque y sus Estrellas.

The Launch: “Ultimátum”

The purpose of this release is to announce the launch of their second promotional single, a piece crafted for the true music connoisseur: “Ultimátum.”

This musical gem features a collaboration with a legend of the genre, a world-renowned sonero and vocalist: Hermenegildo Olivera Suárez, globally known as “Hermán Olivera, El Sonero del Siglo XXI.”

Herman Olivera El Sonero del Siglo XII y Dj. Augusto Felibert

History and Evolution

This romantic-style track was originally recorded in 1981 by the great Puerto Rican interpreter Felipe “La Voz” Rodríguez.

The song was written by the legendary Puerto Rican composer Luz Celenia Tirado, who was the first woman recognized in the island’s challenging guild of troubadours and also performed on that original production.

On this occasion, El Jeque y su Banda takes the work in a new direction, transforming it into an aggressive Guaguancó fused with an elegant Cha-Cha.

The concept for this version was a creative endeavor led by Hermán Olivera, who defined the essence and intent of the track.

Ángel Martínez “El Jeque” y Dj. Augusto Felibertt

Subsequently, Luis Alberto and Willie Melo shaped the project, solidifying the final musical structure under the pen and direction of William “Willie” Melo, with the co-production of Luis Alberto “Redlouis” (Manager, Producer & Booking for Hermán Olivera).

Musical Virtuosity

It is remarkable how these music aficionados manage to mesh Guaguancó and Cha-Cha originally fused with a bolero with a versatility that preserves the essence, cadence, and appeal of the piece.

Herman Olivera Soneando Luis Rojas y Augusto Felibertt prueba de Sonido en el marco del evento Salsa Bajo la Cúpula Poliedro de Caracas.

Willie Melo masterfully integrates Hermán Olivera’s characteristic sound, marked by the influences of Manny Oquendo’s Conjunto Libre and the maestro Eddie Palmieri.

The arrangement, loaded with dissonant notes and power, softens its impact with the magic of the Cha-Cha, allowing Hermán to display his artistry in the soneo.

This interplay between the irreverent, the melodic, and the elegant makes “Ultimátum” a mandatory addition to any quality music lover’s playlist.

Production Credits

The excellence of this single is made possible by the participation of these great Venezuelan musicians:

Musicians: Yomar “Caballo” Méndez, Julito Antillano, Luis Ruíz, Joel “Pajarraco” Rivas, Frank Haslam, and Willie Melo.
Backing Vocals (Cha-Cha): Maestro Nino Segarra, accompanied by Rodrigo Mendoza and Wilmer Lozano.
Recording (Lead and Backing Vocals): Nino Segarra Studios (Puerto Rico).
Musical Recording, Mixing, and Mastering: Dale Cerebro Estudio, led by engineer Emmanuel “Cerebro” Romero.

Everything stated above summarizes a work with all the necessary elements to become a radio hit and, above all, an essential piece in your music library.

Sincerely,

Lic. Ángel Martínez “El Jeque”

Collaborations:

Luis Alberto “Redlouis” (Manager, Producer & Booking for Hermán Olivera)

Dj. Augusto Felibertt

Also Read: Hermán Olivera “El Sonero del Siglo XXI”

‘‘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.

Timbalero Manolito Rodríguez Debuts a Fresh Sound as Musical Director of La Zónica

On Friday, March 27, 2026, Manolito Rodríguez and La Zónica performed at La Respuesta, a unique venue a hall where diverse musical genres blend, creating an atmosphere where a dance concert serves as the artists’ formal introduction to the public. The ensemble has been working together since August 2025, when the new orchestra was formed under the leadership of the virtuoso timbalero.

Timbalero Manolito Rodríguez arrives with a renewed energy as musical director of La Zónica

When Manolito began assembling the group, he sought out songs that resonated with him, such as “Gente Luminosa” and “A Mi Medida.” He has also been working with unreleased compositions by Anthony García and Leni Prieto. La Zónica marks a new chapter for the timbalero as the director of his own orchestra. Nevertheless, they continue to perform hits from Manolito’s previous era, now brought to life by the vocal front: Ángel Pomales, Joelis Crespo, and Gabriel Cotto. Manolito has promised to step back from singing to focus entirely on his instrument and musical direction.

The director of La Zónica hopes the dance concert at La Respuesta on March 27 marked a turning point for the band. “It’s an event we’ve been working on with great intensity,” Manolito says with enthusiasm. With energy and conviction, the timbalero adds: “I want to leave a legacy like El Gran Combo de Puerto Rico, like Sonora Ponceña, like Roberto Roena’s Apollo Sound, or Willie Rosario’s band. I want people to say in 25 years, ‘Look, that’s Manolito’s La Zónica.’ It’s a long road, but it’s possible.”

As if that weren’t enough, a new line of Meinl Percussion instruments, inspired by the young Puerto Rican timbalero, is now available.

The new line of instruments - from Meinl Percussion - inspired by Manolito — The new line of instruments – from Meinl Percussion – inspired by Manolito

A Prodigy’s Journey

The career of this salsa virtuoso began early. Manolito Rodríguez is a percussionist, musical director, singer, and dancer. While he was still in middle school, piano genius Papo Lucca invited him to record on the 45th-anniversary album, Homenaje a Tres Grandes del Teclado. “At that time, I was just entering the Escuela Libre de Música; I was in ninth grade,” the timbalero recalls. Four years later, upon graduating from the Ernesto Ramos Antonini ELM in San Juan, Manolito earned the timbalero chair with Sonora Ponceña on Papo Lucca’s recommendation. “Don Quique” accepted him, and the young musician remained with the group for four years.

Puerto Rico’s salsa stages watched Manolito Rodríguez grow up, flanked by musical institutions such as Sonora Ponceña, his now-colleague Willie Rosario, and Roberto Roena’s Apollo Sound.

His skill as a percussionist grew by leaps and bounds, and his versatility was tested on multiple fronts. In fact, his vocals were featured with the orchestra Del Sur al Norte, led by the renowned director, arranger, and producer, trumpet master Julito Alvarado. “Julito was the first one who gave me the opportunity to record as a singer,” Manolito acknowledged in an interview.

Manolito Rodríguez and La Zónica performed at La Respuesta, a different venue.

Thanks to his interactions with salsa veterans since childhood, Manolito served as musical director for various youth projects along the way. This included Revolución Juvenil in high school and Manolito y su Trabuco, an orchestra that performed every Wednesday at El Doble Seis in Caguas.

Legacy and Discipline

According to Manolito himself now a music professor—he owes much of his career to the support of his mother and grandmother, who nurtured his musical interests and encouraged him to pursue formal training. Today, the instrumentalist considers himself a “music worker” who approaches his craft with respect and maturity.

His new orchestra, La Zónica, finds him with a different mindset: he wants to concentrate on the timbales and direction. He considers Master Willie Rosario—who treats him as a protégé one of his greatest influences as a timbalero-bandleader. Rodríguez shares that when he read the authorized biography of “Mr. Afinque” (Willie Rosario, El Rey del Ritmo by researcher Robert Téllez) and saw himself mentioned, he was overcome with emotion. “My eyes welled up. I didn’t expect it,” he says. “Since I started taking things seriously, Willie has always mentored me.”

Despite his vast experience, the young musician felt deeply blessed to be chosen to fill in for the leader of “the band that delights” (la banda que deleita) on several occasions, and to perform at the Willie Rosario Centenary concert at the Coliseo de Puerto Rico. “I feel very fortunate because Willie is a very serious person, someone highly respected in the world of salsa with an impeccable career. He is a true role model.”

Following the passing of Roberto Roena, Rodríguez was also entrusted with the legacy of the Apollo Sound—a testament to the confidence and solidity he projects despite his youth. “Wow, yes. It was an honor,” he recalls nostalgically. “Roberto was the first person to give me a big break in Puerto Rico,” referring to his participation in the 1998 Día Nacional de la Zalsa at the Juan Ramón Loubriel Stadium in Bayamón.

On Sunday, March 22, 2026, Manolito Rodríguez returned to the Día Nacional de la Zalsa as the timbalero and director of La Zónica, a project that debuted last November during Sonora Ponceña’s 70th-anniversary concert. The current lineup includes: Airemyelisse Díaz (bass), Reinaldo Burgos (piano), Savier Díaz (congas), Manolito Rodríguez (timbales/director), Carlos Arroyo (bongo), Víctor “Yuca” Maldonado (baritone sax), Efraín Martínez (tenor sax), Rubén Díaz (trumpet), and Jan Santana (flugelhorn).

Manolito is well aware that “people pay to be entertained,” as he mentioned in a Zoom interview, and he views himself as a craftsman of music. He feels fortunate to be a full-time musician. “That’s what keeps me grounded. I get paid to make music. I am a music worker with great aspirations who trusts his talent and knows he must stay focused.”

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

Paoli Mejías A Talent Forged in the Streets and Discipline with a New Sound in Latin Jazz

From legendary sideman to the leader of a limitless musical vanguard.

Paoli Mejías is a pivotal figure in the evolution of contemporary percussion, renowned for his seamless fusion of Latin jazz with masterful conga technique.

Paoli Mejias: From accompanying legends to leading a musical vanguard without borders

While he is an exceptional multi-percussionist, his command of the congas has established him as one of the most in-demand soloists in the world.

He is distinguished by a melodic style; he doesn’t just keep time he makes the drums “sing,” utilizing precise tuning and astonishing speed.

After touring the globe alongside icons such as Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea, and Marc Anthony, Mejías has solidified his status as an international benchmark. His vast musical, folkloric, and cultural knowledge positions him today not only as a percussion virtuoso but as a visionary leading his own quintet.

With a career marked by success, Mejías has produced three high-caliber independent albums: Mi Tambor (2004), which received a Latin Grammy nomination, Transcend (2006), and Jazzambia (2008).

Paoli Mejías, a talent forged in the streets and through discipline

These works have placed the Puerto Rican percussionist at the forefront of the genre, earning glowing reviews in the world’s most influential publications, including JazzTimes, DownBeat, Jazziz, and Modern Drummer.

A Talent Forged in the Streets and Discipline

Born in Río Piedras, Puerto Rico, on March 7, 1970, Paoli discovered his calling at the age of twelve. Inspired by the records of Carlos “Patato” Valdés and Ray Barretto, and the innovation of groups like Batacumbele and Irakere, he bought his first conga and began a self-taught journey.

Without formal teachers, he learned the language of percussion by mimicking the sounds emanating from his favorite vinyl records.

Paoli Mejía with Nuevo Sonido en el Jazz Latino

His true training took place in the effervescent musical atmosphere of San Juan, absorbing the styles of his mentors in street rumbas.

His professional debut came via Rafú Wagner (former vocalist for Bobby Valentín), and while still a teenager, he was already collaborating with renowned local artists such as José Nogueras, Glenn Monroig, and Charlie Sepúlveda.

The Leap to the Global Stage

His impeccable technique and melodic sensitivity quickly made him the preferred sideman for the greats. For over eight years, he was a key member of maestro Eddie Palmieri’s orchestra, recording on historic projects like Masterpiece/Obra Maestra (with Tito Puente), which won a Grammy Award.

Paoli Mejías is a fundamental figure when discussing the evolution of contemporary percussion

His discography now exceeds 20 commercial productions, including the nominated Acuarela de Tambores.

This exposure to world music enriched his creative fire. As Elmer González noted in Latin Beat: “Through Mi Tambor, Paoli achieves a watercolor of rhythms and textures that make this album one of the best Afro-Latin jazz productions released as a leader, and he aspires to continue a career forged on the stages of the world’s most important festivals.”

Beyond the Traditional Genre

Today, Paoli Mejías’ group offers a style that transcends labels. His proposal fuses the “Salsa Gorda” of the big orchestras with Puerto Rican bomba and plena, incorporating nuances of Greek, Flamenco, Indian, and African music. The result is a vibrant experience where the audience ceases to be spectators and becomes participants.

His versatility was cemented at the Heineken Jazz Festival, where critics highlighted his absolute mastery of minor percussion, timbales, bongos, and ethnic instruments like the Nigerian Udu, hailing him as one of the most complete percussionists of our time.

Paoli was there: Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea and Marc Anthony

Beyond his role as a performer, the “Maestro” shares his knowledge by conducting clinics at prestigious institutions such as the University of Washington, the University of New Mexico, and the Puerto Rico Conservatory of Music.

Sponsored by leading brands like Latin Percussion and Sabian, Paoli Mejías continues to elevate the legacy of Latin jazz into exciting new dimensions.

Member of Santana

Paoli Mejías is a world-renowned percussionist who was a member of the band Santana, led by Carlos Santana.

Joining Santana: Paoli joined the group in 2013, taking over the conga chair. His arrival brought an impressive technical energy and rhythmic depth, establishing him as a fundamental piece of the band’s world tours for several years.

Source: Paoli Mejías

Also Read: Carlos “Patato” Valdés: One of the Greatest Percussionists in Latin Jazz History