Latin Jazz

Russian composer, artistic director, and saxophonist Yaacov Mayman conquers New York

We are truly happy to spend time with Grammy-nominated composer, artistic director, and saxophonist Yaacov Mayman, whom we had the opportunity to interview by email about the most significant aspects of his career and the legendary figures with whom he collaborated with on stage and in the studio.

Next, we will talk about some of the pivotal moments of his brilliant career to date.

Yaacov Mayman playing the saxophone live. Photo taken by Al Gor

How Yaacov first became interested in music

Yaacov, who is originally from Russia and lived in Israel for many years, decided he wanted to play the saxophone by hearing Charlie Parker for the first time. His sound, freedom, and imagination opened a whole world in front of him he just had to explore fully.

However, his musical foundation did not begin there, but in his native Moscow, where he used to attend classical music concerts from a very young age. He originally wanted to be a singer, but was not admitted to the Central Music School. Instead, he was accepted into the cello class at his local music school. That was the beginning of his formal musical education, and later jazz led him to the saxophone.

In addition, his mother is an artist and his father is an engineer. Most of his family worked in technical fields. He grew up with both creativity and discipline around him, and music became his own way of expressing those qualities.

First professional experience

His first professional concert experience as a saxophonist was playing with a big band. Before that, he had performed on cello with his music school orchestra, so he already knew the feeling of being onstage with other musicians. But playing jazz in a big band was a new experience: the energy, the rhythm, and the chance to express his own voice through improvisation.

It taught him that he has to listen to the whole band, understand his role, and be ready when his moment comes. Those early experiences gave him a foundation that he still carries with him today.

Yaacov Mayman playing with Valery Ponomarev — Yaacov Mayman playing with legendary jazz trumpeter Valery Ponomarev

Collaborations with other great artists

Throughout his 30-year career in the industry, Yaacov has collaborated with renowned figures such as Benny Golson, Joe Lovano, Bill Evans, Randy Brecker, and the Bobby Sanabria Multiverse Afro Latin Big Band. He notes that working with musicians of that caliber is an education in itself.

Their phrasing, discipline, and command of the stage taught him to listen more closely and respond naturally. Each has a personal musical voice, and being around them encouraged him to keep developing his own.

He also learned that a powerful sound requires not only warmth and sensitivity, but also strength. It is all about how a phrase is shaped, how space is used, and how honest communication is. Trust between musicians grows from preparation of those sharing the stage at that moment.

Iconic venues

Yaacov has performed at iconic venues like Carnegie Hall, Birdland Jazz Club, and Dizzy’s Club Coca-Cola, though he sees his career as a series of important moments rather than one single turning point. Playing at Carnegie Hall carries a special sense of history and responsibility. At Birdland and Dizzy’s, he feels close to the living tradition of jazz, while a festival such as the Red Sea Jazz Festival brings that music to an international audience.

For Yaacov, building a musical life in New York has been the larger turning point. It brought him into contact with extraordinary musicians and audiences who know and love this music. Those experiences helped him grow in confidence and made him want to keep reaching higher.

Yaacov and bobby Sanabria — Yaacov Mayman, Bobby Sanabria, Rufus Reed and George A Johnson Jr. rehearsing for MADEinNY Jazz Gala Concert

Yaacov as artistic director of the Made in NY Jazz Competition and and the Made in New York Jazz Festival

Yaacov explains that what attracted him to the digital format was the possibility of hearing talented musicians wherever they lived. There are wonderful artists around the world who cannot easily travel to New York or reach the people who could help their careers. An online competition gives them a way to be Heard and creates connections that can lead to live musical collaborations.

As Artistic Director, he is interested in more than technical skill. I listen for an individual voice, musicality, creativity, and feeling. Technique matters, but I want to hear the person behind the notes.

In the case of the festival, artists share the stage, exchange ideas, and learn from one another.

Community Concert Network Inc.

Another important role for which Yaacov stands out is serving as president of the non-profit organization Community Concert Network Inc., which is dedicated to bringing jazz cultural programs and events to underserved communities in New York. This has become a profoundly meaningful initiative for him, as he believes live music should be available to people regardless of their income.

Often, the price of a ticket or the difficulty of traveling to certain venues hinder access to great live music, which directly inspired the creation of this project. On this matter, he states the following:

“New York has an extraordinary musical culture, and I want more of its communities to share in it. Bringing concerts into local centers lets us meet people where they are and make the experience welcoming and personal.”

Yaacov is the president of the non-profit organization Community Concert Network Inc.

The 8th edition of the Frankie Ruiz Salsa Festival in Mayagüez honored “The Father of Salsa” across three days of live concerts

A Star-Studded Lineup in Mayagüez to Celebrate Frankie Ruiz

The eighth edition of the Frankie Ruiz Festival welcomed die-hard salseros to the “Sultana of the Caribbean,” nonplussed by the rainfall. Held at the Frankie Ruiz Shell Ampitheater, the festival paid tribute to Roberto “Bola” Rivera the bassist, bandleader, and creator of La Solución. The musical showcase kept salsa fans captivated all weekend long, defying the bad weather that tried to dampen attendance.

On Friday, July 28, the opening night kicked off with Los Guardiola, led by Josh, with Willy on vocals delivering tracks like “Ruleta,” “Cuadro roto,” “Es tiempo,” and “Al son que me tocan bailo.” The brothers’ energy set the stage ablaze for the rest of the weekend. Up next was “El Mulato Rumbero,” Michael Stuart, who brought maximum energy as he performed the biggest hits from his fruitful career. The crowd danced and sang at the top of their lungs to “Amor a primera vista,” “Sueño,” “Imaginando tu amor,” “Te amo,” “Me enamoré,” “Niña bella,” “Me siento vivo,” “Gitana,” and “Será que no me amas.” Attendees also got to enjoy the live premiere of his new single, “Ya lo sé.”

Closing out the night to great acclaim was the “orchestra of eternal youth,” Mulenze, led by bassist and director Edwin Morales, playing the fan-favorite tracks salseros have made timeless. They served up “A mí me huele,” “Te amo en silencio,” “Mi negrita,” “Toco madera,” “Yo prometo,” “Por él,” “Me dejaste en pausa,” and “Anoche aprendí.”

Saturday’s lineup on July 29 kicked off with Roberto Rivera’s Orquesta La Solución. The second act brought solo artist Willie González to the stage, who delivered emotional performances of “Seda,” “En la intimidad,” “Pequeñas cosas,” “No podrás escapar de mí,” “Quiero morir en tu piel,” “Doble vida,” “Paso la vida pensando,” “Hazme olvidarla,” “Amor pirata,” and “No es casualidad.” Closing out the second day was Sonora Ponceña. “The Giants of the South” brought their signature high voltage to tracks such as “Bombacarambomba,” “Sola vaya,” “Juana Bayona,” “Date cuenta,” “Canto al amor,” and “Rumba en el patio,” among others.

The crowd drew delegations from Colombia, Peru, Panama, and Ecuador, alongside local Puerto Ricans from across the island and members of the diaspora returning home to celebrate their Puerto Rican pride.

The third and final day of the 2026 edition of this salsa event organized alongside Judith Ruiz, widow of “El Tártaro de la Salsa” was presented in partnership with Mayagüez Mayor Jorge Luis Ramos Ruiz, the Salsoul team programmed by Ricardo Padilla-Núñez, and produced by Madera Events. The team elevated Puerto Rico’s salsa scene and its artists while delivering a lineup that’s hard to beat. Meanwhile, salsa continues to evolve, and the Mayagüez festival paved the way for new talent, signaling a bright future for the musical movement in which Puerto Rico has always led the charge.

Sunday opened with rising singer Wendy Luna. The second set belonged to Giro, who, after singing “El pasajero,” “Mi forma de sentir,” “El centro de mi corazón,” “Me enamoré,” “Ave María,” and “Si tú supieras,” shared the stage with an up-and-coming talent to watch. Young singer Keydriel Tirado commanded the stage during “Amor lunático”—a moment that surely took Giro back to his own beginnings with the youth group Los Chicos.

The third set showcased the enduring legacy of the late Tommy Olivencia, performed by the orchestra of timbalero and director Tommy Olivencia Jr., featuring Viti Ruiz as a special guest. The repertoire by “La Escuelita”—so nicknamed for serving as a training ground for several of our greatest soneros included “Luna lunera,” “Lo dudo,” “Pan Cuco,” “Vuelve Pan Cuco,” “Te ví,” “Aléjate de mí,” “Amargos recuerdos,” “Cómo lo hacen,” “Que se mueran de envidia,” “Primero fui yo,” and “La suplicante.”

The fourth slot welcomed Maelo Ruiz, who kept kids involved in the show by featuring Samuel André Ramírez Camuñas as presenter and 10-year-old up-and-coming timbalero Matías Adriel Ramírez Camuñas, who proved he is poised to be part of the next generation of salsa. The orchestra continues under the musical direction of conguero Jean Carlos Camuñas, joined by Juan Picorelli on timbales, Carmelo Álvarez on bongo, Jorge Rivera on bass, Reynaldo Burgos on piano, Víctor Ambert and Rolando Alejandro on trumpets, Lester Pérez, César Javier Ayala, and Julio Dipiní on trombones, alongside backing vocalists Jorge Yadiel, David Carrero, and Urayoán Lizardi. Maelo Ruiz kept fans singing along passionately to medleys of hits like “Ladrona de amor,” “Atrévete,” “Me niegas tanto amor,” and “Te quiero amor”; followed by “Yo soy el malo,” “A mí no me da igual,” a medley of hits made famous by Frankie Ruiz, and another medley featuring “Sé que no soy un santo,” “Por favor señora,” “La propuesta,” “Vicio,” “No te quites la ropa,” and “Si supieras.” His set wrapped with “Solo tú,” “Regálame una noche,” “Quien te enamoró,” “Llegó el amor,” and “Te va a doler,” which Maelo performed as a duet with 12-year-old Cabo Rojo native Keydriel Tirado, who proved he possesses the talent, discipline, and charisma required to build a promising career.

The municipal government of Mayagüez formally recognized the musical legacy of Roberto “Bola” Rivera, crediting him with giving Frankie Ruiz his very first professional break.

The performance by El Gran Combo de Puerto Rico featured all-time hits from “The University of Salsa,” including “Pico, pico,” “El swing,” “Aniversario,” “Las hojas blancas,” “Que me lo den en vida,” “El caballo pelotero,” “Amor brutal,” “Adela,” and “El carbonerito”—which included a special performance by Aniel Rosario honoring his late father, Papo Rosario—as well as “El matrimonio” and “Ponme el alcolado Juana.”

The festival’s grand finale was helmed by “El Caballero de la Salsa,” Gilberto Santa Rosa, and his orchestra. The setlist featured classics spanning the legendary career of one of salsa’s most prominent solo artists: “Consciencia,” “Montón de estrellas,” “Cartas sobre la mesa,” “Sin un amor,” “Lluvia” (from his era with the Willie Rosario Orchestra), “Tú,” “El camionero” (a tribute to Frankie Ruiz), “Impaciencia” (featuring a conga showcase alongside Gerardo Rivas, Gilbertito himself, and Pete Perignon), “La agarro bajando,” “Conteo regresivo,” “Amor mío no te vayas,” “Vivir sin ella,” “No quiero na’ regala’o,” and “Perdóname,” among others.

Gilberto Santa Rosa junto a Gerardo Rivas y Pete Perignon

Carmencita DJ, the official Salsoul DJ, kept the music spinning in theme with the event, keeping Frankie Ruiz’s music playing all weekend long.

Also Read: Don Perignon Y La Puertorriqueña releases his new album ‘‘Classique et Savoureux’’

Charlie Palmieri The Giant of the Blancas y las Negras

Immortal Legacy of the Pioneer Who Transformed the Piano, Pachanga, and Latin Jazz.

On September 12, 1988, Carlos Manuel Palmieri Maldonado known to the artistic world as “Charlie Palmieri” and affectionately nicknamed “The Giant of the Keys” passed away in New York.

A virtuoso pianist, arranger, composer, producer, and bandleader, Palmieri established himself over more than six decades as one of the most influential figures in the evolution of Latin music.

Born in Manhattan to Puerto Rican parents a father from Florentino and a mother from Ponce Charlie was the pioneer of the Palmieri dynasty in tropical music. He paved the way for his younger brother, Eddie Palmieri, to achieve his own triumphs years later and become another colossal legend of Latin music history.

Un 12 de septiembre de 1988 falleció en Nueva York Carlos Manuel Palmieri Maldonado

From a very young age, he displayed exceptional brilliance. His career spanned from rumba, guaracha, and mambo to cha-cha-chá, pachanga, and Latin jazz.

Throughout his life, he brought extraordinary talent to traditional folk rhythms and the rise of the descarga jam sessions, demonstrating a technical mastery that ranked him among the greatest rhythmic pianists of the genre.

In 1943, during World War II, he joined Pupi Campo’s orchestra and briefly served as the musical director for the band on the famous Jack Paar Show.

Over the course of his career, he recorded more than 50 full-length LP albums and collaborated with icons of the genre such as Tito Puente, Noro Morales, Xavier Cugat, Rafael Muñoz, and Moncho Usera.

El Legado inmortal del pionero que transformó el piano, la pachanga y el jazz latino

One of his greatest contributions came on New Year’s Day in 1959, when he debuted Charanga Duboney, a Cuban-style lineup featuring flute and violins. Joined by the outstanding Dominican flutist Johnny Pacheco, Duboney revitalized the traditional sound of groups like Orquesta Aragón and sparked a massive musical craze in New York during the early 1960s, performing up to four times a night.

In addition, it reintroduced key figures such as José Fajardo, Pupi Legarreta, Belisario López, and Alberto Socarrás to the New York scene.

In 1961, he took over as musical director of the Alegre All-Stars, a collective of Cuban, Puerto Rican, and Nuyorican musicians who blended mambo with extended jazz solos.

In his acclaimed book The Latin Tinge, music historian John Storm Roberts described those recording sessions as “an almost perfect balance between jazz and Latin elements,” noting that they spawned countless imitations and established Palmieri as an undisputed leader of the movement.

Virtuoso pianista, arreglista, compositor, productor y director musical, Palmieri

Beyond his work as a performer, Charlie Palmieri was a devoted champion of education and folklore. He firmly argued that every musician must understand their country’s roots in order to modernize them with fresh perspectives.

During his teaching years in Brooklyn, he required his students to rigorously study danzas, baquiné, plena, and other Caribbean rhythms as the essential foundation for their artistic growth.

After suffering a heart attack, he lived in Puerto Rico for a time before ultimately returning to New York, where he settled in the Bronx and formed El Combo Gigante alongside vocalist Jimmy Sabater.

Although doctors warned him that he would never regain full use of his hands, his perseverance brought him back to the stage and the studio to record his acclaimed album A Giant Step.

Maestro Palmieri passed away at Jacobi Hospital in the Bronx at the age of 60, just before embarking on an international tour of Great Britain and Japan alongside the famous Cuban conguero Ramón “Mongo” Santamaría.

Charlie Palmieri El Gigante de las Blancas y las Negras

His immense musical legacy and exceptional character endure as an indelible benchmark in the history of Latin music.

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

By: DJ Augusto Felibertt

Ray Barretto: The Unshakable Beat of Latin Jazz and Salsa

Conguero, orchestra director, composer, arranger and producer. These are some of the roles Ray Barretto has played in his more than 35-year musical career.

Ray Barretto El latido inquebrantable del jazz latino y la salsa

The journey of the virtuoso conguero who transformed Caribbean percussion, enshrined the Fania sound, and shattered the boundaries of Afro-American rhythm.

Few musicians have left as profound and instantly recognizable a mark on Latin music as Ray Barretto. Known universally as “Hard Hands” (“Manos Duras”), Barretto was not merely a master of the drumhead; he was a visionary who understood percussion as the backbone of a sonic revolution.

Barreto Conguero, director de orquesta, compositor, arreglista y productor

Across a prolific career spanning over four decades, this legendary New York-born musician of Puerto Rican descent elevated the status of the conga on the international stage, building unbreakable bridges between American jazz and the rhythmic richness of Afro-Cuban music.

Caribbean Roots and the Bebop Revelation

Born in Brooklyn in 1929 and raised in Spanish Harlem, Barretto grew up immersed in two parallel musical universes. While at home his mother’s voice kept their Puerto Rican heritage alive, the radio broadcasted the rise of bebop from musicians like Dizzy Gillespie and Charlie Parker. It was precisely during his military service in post-war Germany that he heard “Manteca,” Gillespie’s track recorded alongside the legendary conguero Chano Pozo.

That revelation defined his life’s purpose: to prove that congas were not a mere folkloric ornament, but a rhythmic and harmonic instrument capable of engaging in complex dialogues with jazz.

From Boogaloo to Salsa Stardom

Upon returning to New York in the late 1950s, Barretto replaced Mongo Santamaría in Tito Puente’s orchestra, quickly cementing his reputation as an impetuous, precise, and tireless percussionist.

La trayectoria del virtuoso conguero que transformó la percusión caribeña, consagró el sonido de Fania All Stars

By 1962, he recorded the monumental hit “El Watusi.” This track not only became the first pachanga and charanga record to break into the Top 20 on the U.S. pop charts, but it also fueled the boogaloo era a catchy fusion of rhythm and blues, soul, and Latin rhythms that captivated the urban youth of the era.

However, Barretto’s genius refused to be pigeonholed by passing trends. In the 1970s, as a bandleader and star figure for the iconic label Fania Records, he played a pivotal role in the birth of salsa.

Barretto was the rhythmic engine and on-stage musical director for the landmark Fania All Stars. His presence in historical concerts from the Cheetah Lounge to Yankee Stadium brought a technical rigor and an overwhelming power that catapulted salsa into a global phenomenon.

Essential albums like Indestructible (1973) not only demonstrated his resilience after several band members departed, but they also became definitive anthems of Caribbean pride and perseverance.

Pocos músicos han dejado una huella tan profunda y reconocible en la música latina como Ray Barretto

Return to Jazz and an Everlasting Legacy

Despite his massive success in salsa, Ray Barretto never forgot his first love. In the final chapter of his life, he formed the group New World Spirit, a project through which he explored modern Latin jazz in a sophisticated manner, mentoring young talent and showing that Afro-Cuban percussion could harmoniously coexist with the most abstract improvisation.

The legacy of “Hard Hands” extends far beyond the physical strength his nickname suggested.

His true power lay in his musical intellect, his ear for the perfect arrangement, and his steadfast belief that music is a universal language transcending genres and identities.

Ray Barretto passed away in 2006, but the echo of his drums continues to reverberate as an indestructible force in the history of global music.

By: Dj, Augusto Felibertt

Also Read: Eddie Montalvo Iron Hands: “I’m in love with Venezuela”

The Art of Listening: A Beginner’s Guide for the Conscious Music Lover

How to Go Beyond the Surface and Discover the True Depth of Music.

Embarking on the journey of dedicated music appreciation requires stripping away passive habits and superficial routines. The first step is breaking free from the pattern of the casual listener who consumes music out of habit or social imitation.

Becoming a true music lover demands transforming accidental listening into an act of conscious, critical, and passionate exploration.

DJ Augusto Felibertt: Embarking on a journey into music appreciation requires shedding inertia and superficial habits.

Context and Era: The Historical Framework of the Work

To fully grasp an album or a single track, it is essential to ground yourself in the historical and social environment in which it was conceived.

Always ask yourself: When was this recorded? What political, social, or cultural events shaped it? Which aesthetic movements defined that moment? Music never emerges in a vacuum; it is the living reflection of a specific time and place.

DJ Augusto Felibertt: The first step is to break the pattern of the passive listener who simply consumes out of inertia or imitation.

The Credits: The Architecture Behind the Artist

A common rookie mistake is focusing entirely on the lead vocalist, bandleader, or prominent name on the album cover.

A record production is a collective effort. Take the time to examine the liner notes in detail: identify the session musicians, producers, arrangers, sound engineers, graphic designers, record labels, and countries of release. Learning to read the credits will reveal the invisible network of talent behind that distinct sound.

Language, Jargon, and Cultural Roots

Study the genre-specific jargon and regional idioms of each era. In genres like Caribbean music or jazz, for example, diving into street slang and local vernacular is vital.

Understanding this linguistic landscape allows you to decipher the narrative context, the cultural mindset behind the compositions, and the true impact of the lyrics with greater fidelity.

How to go beyond the surface and discover the true depth of music

The Creative Trinity: Lyrics, Composition, and Arrangement

Look deeper into the intellectual ownership of every piece. Research who wrote the lyrics, who composed the melody, and who crafted the arrangements. A single song can undergo a radical transformation depending on the arranger’s vision or the original composer’s sensibility. Avoid defining a track strictly by its frontperson; explore everything orbiting around it.

Key Tip: Don’t just listen. Research, contextualize, and listen again. True musical appreciation is born within this continuous exercise.

By interconnecting musicians, recordings, eras, record labels, and geographies, you will begin weaving a mental map of complex musical relationships. With practice, you will sharpen your ear and cultivate your own rigorous, passionate aesthetic judgment.

Essential Decalogue for the Initiated Music Lover

Listen before judging: Take the time to process a work fully before forming quick opinions.
Move beyond genre labels: Categories are often commercial tools; genuine creativity knows no boundaries.
Explore the liner notes: Acknowledge the sonic architects working behind the scenes.
Question what you read: Fact-check information and cross-reference official biographies, reviews, and historical accounts.
Appreciate complete albums: Respect the record as the complete, conceptual journey the artist intended.
Trace the roots: Investigate the primary origins and influences that shaped your favorite styles.
Quality over quantity: Amassing thousands of audio files is not the same as cultivating musical culture or critical judgment.
Compare versions: Analyze different interpretations, arrangements, or covers of the same composition.
Expand your timeline: Seamlessly transition between historical recordings and contemporary releases.
Enjoy the journey: Being a music lover is an intimate passion of constant discovery, not a competition.
The tribute that DJ Augusto Felibertt pays to Eddie Palmieri

Also Read: Louie Ramírez: “The Quincy Jones of Salsa” and His Progressive Talent A Hidden Genius of the Fania All Stars

By: Dj. Augusto Felibertt