Latin Music

Phil Robinson Blends Sensitivity and Tradition in His New Single “Allí Me Enamoré”

A Romantic Salsa Gem That Transforms the Bond of Friendship Into an Honest Declaration of Love

Romantic salsa adds a new gem to its repertoire with the release of “Allí Me Enamoré” (“There, I Fell in Love”), the latest single by Phil Robinson.

Phil Robinson une sensibilidad y tradición en su nuevo sencillo “Allí Me Enamoré”

It is a track filled with sensitivity, nostalgia, and emotion that aims to reconnect the audience with the genre’s narrative essence.

Composed by Puerto Rican songwriter Andy Roldán renowned for his ability to translate intimate feelings into deeply human lyrics this song unfolds as a love story that blossoms from the complicity of a sincere friendship into an inevitable confession of the heart.

From its opening verses “Hola amiga, ahora que al fin puedo mirarte a los ojos…” (“Hello my friend, now that I can finally look into your eyes…”) the track draws us into an intimate, almost confessional conversation, where the protagonist opens the pages of his soul to reveal a long-held feeling.

The lyrics journey through memories, silences, glances, and restrained emotions, building a narrative that many listeners will easily identify with: that exact moment when friendship is no longer enough because love has already taken root.

Phil Robinson delivers a warm and honest performance, anchoring every phrase with an emotional weight that highlights the depth of the lyrics. His voice successfully balances tenderness and passion, turning the song into an intimate, almost cinematic experience where every word feels lived in real time.

One of the greatest achievements of “Allí Me Enamoré” is its capacity to bridge the present day without abandoning salsa traditions. The contemporary reference to the everyday act of “opening your profile where I can see you” embeds the song into the emotional language of the digital age, bringing modernity to a classic story of unrequited love.

The chorus “En las páginas de tu alma, amiga, allí me enamoré” (“In the pages of your soul, my friend, there I fell in love”) stands as the poetic centerpiece of the composition: a delicate metaphor that transforms the human soul into an open book, an intimate territory where true love is born. This imagery gives the track its own unique identity, making it a memorable piece within today’s romantic repertoire.

La salsa romántica suma una nueva joya a su repertorio con el lanzamiento de “Allí Me Enamoré”, el más reciente sencillo interpretado por Phil Robinson.

Musically, the single is built upon an elegant melodic foundation, remaining faithful to the core DNA of romantic salsa, with arrangements designed to embrace the lyrics without stealing the spotlight.

The instrumentation subtly accompanies the emotional development of the story, allowing both the vocals and the message to breathe naturally.

With this release, Phil Robinson reaffirms his commitment to a style of salsa that not only invites people to dance but also to feel, remember, and confess. “Allí Me Enamoré” is a song for those who have loved in silence, for those who discovered too late that a friendship concealed a deep love, and for those who still believe in the power of a great story sung with absolute truth.

THE MUSICAL CAREER OF PHIL ROBINSON

Phil Robinson is a sonero, songwriter, performer, and director of his own orchestra. His charisma and his entrepreneurial, creative, and positive attitude allow everyone who speaks with him to enter his world, captivated by his love for music and his passion for learning, evolving, and improving every day. Robinson has loved the arts from a very young age.

Orquesta Yaré was the dream of a young man who, like Phil, wanted to make it big in the world of Latin music. It was founded and directed by Leroy Gutiérrez (conguero, timbalero, and bongosero), featuring original tracks alongside his brothers Johnny (bongosero) and Loui (trumpeter).

At the time, Leroy was a percussionist, but he also taught himself to play the piano. Gutiérrez invited Phil to join the group to turn him into a star. Yaré was a 12-piece orchestra, and all of their music was entirely original.

During a performance at Landis Park in Vineland, New Jersey, Orquesta Yaré backed the legendary Néstor Sánchez and Larry Harlow, the “Judío Maravilloso” (The Marvelous Jew) of the Fania All-Stars, who attended as guest artists. For Phil, it was a dream come true to share the stage with icons he so deeply admired. Years after that historic performance, Robinson reunited with Larry Harlow in Los Angeles and was able to share a photograph of that very first experience together.

As his musical journey evolved, he became the lead vocalist for Henry Mora and the All Star Salsa Orchestra of Los Angeles, while also collaborating with various local bands.

From there, he went on to become the lead voice for Eric Matos and Orquesta La Caliente, as well as Papo Rodríguez y La Sorpresa.

With the latter group, he recorded two original songs composed by Puerto Rican pianist Nelson Montalvo: “Fantasía” and “Mi Regalo,” which were included in the 2005 album titled Oye Salsa Sabor y Clave.

During Phil’s tenure with Papo Rodríguez, the renowned Panamanian singer Camilo Azuquita arrived in the city, and the band transformed into Azuquita y su Melao.

Phil served as his lead vocalist and primary background singer for several years, performing at prestigious venues such as the Hollywood Palladium and sharing the stage with iconic industry figures. Thanks to these valuable collaborations, Robinson fully polished his signature style.

Phil Robinson es sonero, compositor, ejecutante y director de su propia orquesta

Throughout his career, Phil has shared the stage with legends of the stature of Adalberto Santiago, Tony Vega, Herman Olivera, Yolanda Rivera, Meñique, Luigi Texidor, Wichy Camacho, Cuban singer Franco, Willie Chirino, and Celia Cruz, among many others.

After seven years of dedicated work, Phil completed and released his latest musical project titled Entre Dos Mundos (Between Two Worlds), produced by Arturo Solar.

This production features classic compositions from renowned authors such as Armando Manzanero, Ted Koehler, Harold Arlen, Virgilio and Homero Expósito, Enrique Benítez, Vicente Garrido Calderón, and Jesús Alejandro, alongside original tracks penned by Phil himself.

Robinson notes that, starting in 2023, he became a TV spokesperson and the MC (master of ceremonies) for the San Juan Puerto Rican Festival.

KCAL Channel 9 LA KCAL Channel LA Promoviendo el Festival Boricua en KCAL 9 Los Angeles

Here at Malanga Radio, we celebrate this premiere as proof that romantic salsa remains alive, evolving with new voices, new pens, and new emotions.

Allí Me Enamoré” is now available on all digital platforms.

Chechy Rosado

Public Relations

+57 301 685 2655

Barranquilla – Colombia

Also Read: Phil Robinson Sonero, composer and performer bandleader

Cuban-American dancer and actress Jessica Pacheco presents us her own dance company Flamenco Tropical

The talented and beautiful Jessica Pacheco graces us with her pleasant presence in our July edition, which makes us very happy and delighted. The Cuban-American actress and dancer has given us the great honor of talking for a while about her extensive and varied artistic career and how she has built it over the years.

With the Cuban flavor of her heritage, she shared the most important moments of her story and how she went from one facet to another to become the complete artist she is today

Dancer and actress Jessica Pacheco posing for the camera

Jessica’s beginnings in the world of entertainment and her inspirations

Jessica tells us that she was initiated into the world of entertainment while she was “still in her mom’s womb.” Her mother was a dancer in Cuba and had always been closely linked to art, so not much time passed before she enrolled her little daughter in ballet, drama, and piano classes. Being a very young girl, her parents constantly led her to travel to Spain, where she became so fascinated by flamenco tablaos that she stayed up late just to watch these kinds of shows on TV.

When returning home in Miami, the city she was born and raised in, she was enrolled in her first Spanish classical dance classes and was introduced to genres such as flamenco and rumba. Being just a 15-year-old teenager, she was hired by her first professional dance company, Ballet Español Rosita Segovia. From there, she is grateful that her professional career has not stopped even since. She has also worked for the dance companies “Ole Ole” and “Flamenco Express.”

As all of this was taking place, she studied psychology at Florida International University in Miami and thought she would work with elderly individuals; in fact, she had her internship at a nursing home. However, she started receiving dance contracts and soap opera projects continuously, so she had to leave her university profession to the point that she never practiced it.

Mario,Jessica, Marcela, and Jose — Musician Mario Oretea, dancer Jessica Pacheco, dancer Marcela Rodriguez, and musician Jose Oretea

When the work was scarce as in the time of the pandemic, Jessica decided to create for herself, which is when the 13-episode series “Cuban Tales” came about. Her mother has always told her not to leave for until tomorrow what can be done today, so when she realizes that there is not much work in dancing or acting, she seeks to create for herself without waiting for opportunities to fall into her lap.

Theater

Our of all the facets Jessica has worked in, she admits that theater is what he finds most fulfilling as an artist because of the applause from the audience and the importance of getting everything right the first time, not like in soap operas or TV series where she had the opportunity to repeat a scene that did not go well. Among the works in which she appeared are ‘‘La Traviata’’, ‘‘Turandot’’, ‘‘Carmen’’, and ‘‘El Gato Montés’’. She also had the opportunity to work with the opera companies Florida Grand Opera and Los Angeles Opera, which was directed at the time by Plácido Domingo.

Regarding soap operas, she appeared in “Los Teens,” “Lotería,” “Decisiones,” and “Dame Chocolate.” The dynamics in this type of production were radically different from those in theater, since “hurry up and wait” applies here, so she had to remain in her dressing room waiting to shoot her scenes. The wait was so long that, during an eight-hour day, Jessica would only shoot about half an hour or an hour.

Jose Junco and Jessica Pacheco — Dancer and dance teacher Jose Junco, and Jessica Pacheco

All that wasted time was what bothered her a little about working on soap operas, although there are still nice experiences she will remember, such as the opportunity to work on shared projects with great figures like Carlos Ponce, Genesis Rodríguez, and Riczabeth Sobalvarro, among many others.

Flamenco Tropical

By creating her own dance company, “Flamenco Tropical,” Jessica felt she had connected to her roots and found the circle of musicians and dancers with whom she truly identifies. Even the name is a representation of what the artist wanted to portray through her project, as she does not believe in musical puritanism and enjoys experimenting with all kinds of genres. For example, she and the team of musicians and dancers who accompany her love the Gipsy Kings’ rumba, but also Cuban and Caribbean rhythms like the bolero and iconic Cuban songs from other times.

When the artist started the company, she was living in Los Angeles, but she knew musicians she had worked with in Miami for years, and they agreed to collaborate on this project. Some of them were the brothers Mario and José Oretea from the duo Duende Camarón, whom she describes as fantastic musicians, singers, guitarists, and guitar craftsmen. In fact, their guitars are made of such high quality that they have even been played by the Gipsy Kings.

At first, the group just included the two guitarists and Jessica dancing, but as the company grew, she was able to hire a percussionist who plays the cajón, bongos, and congas. Over time, she also hired a violinist, who adds a spectacular touch to what was in the band. In addition to the Oretea brothers, the group features Grammy-nominated composer and singer Fito Espinola, arranger and guitarist Andrés Vadin, percussionist and vocalist Joel Matos, and dancer José Junco.

Jessica and Fito — Jessica Pacheco and composer and singer Fito Espinola

Edgardo Cambon will celebrate his 40-year career at Yerba Buena Gardens

A few years ago, we had the great honor of interviewing Uruguayan bandleader, director, composer, percussionist, and singer Edgardo Cambón, with whom we talked again about his career anniversary as a musician next month.

Obviously, we wanted to recount the most important and interesting details of his wonderful career, but we could not fail to ask him how he has been the last few years, and that is how we wanted to begin our conversation today.

One of the things he revealed is that he recently released his new album, “For Export,” under the record label Latinbaum Records during a show at a venue known as The Fright, an event in which he enjoy the opportunity to celebrate his 65 years of life in April 2025. There were about 450 people present, with whom an excellent music video was filmed and the previously mentioned CD was released.

At the end of last year, he made about eight radio appearances, one on TV, and another one live in Bogotá, Colombia, which is one of the locations where the producer of Latinbaum Records, arranger, producer, composer, and pianist Israel Tannenbaum, is based. We have also had the opportunity to interview him on other occasions.

He says he is very happy with the five albums he has recorded so far and how active he has been over the past year due to his many promotional trips to places like Puerto Rico.

Edgardo playing — Edgardo Cambon playing live at the Cigar Bar & Grill

How has Edgardo Cambón managed to remain relevant after so many decades?

After being performed for nearly 40 years continuously, it is important to know how Edgardo has managed to remain relevant for such a long time, which in his own words, has been possible thanks to the originality of his sound and lyrics. He has never stopped writing original material, but that does not mean he has not dared to experiment with other people’s compositions, as was the case with “Imagine” by John Lennon. The artist created his own salsa version of this classic, which is an extremely risky thing due to how different salsa is from the soft rock we all remember from the original song.

More importantly, he has never been afraid of changes, and that can be seen in all the genres with which he has experimented, except for reggaeton, since he cannot support many aspects of culture that accompanies this type of music and its leading artists.

He made romantic salsa songs when that genre was very fashionable, but he always tried not to be swayed by the thing of the moment, but to seek himself in each style. Something to acknowledge Israel Tannenbaum is to be the first producer to mold him as an artist and give him so much valuable advice such as reducing the duration of a song or how to keep the message with a shorter length of time.

Another big change to which he had to adapt over the years was the fact that his understanding of the local scene could no longer be the same. One of the many things that changed was the appearance of salsa congresses where DJs, who usually played the hottest tracks of the moment, took center stage. This led Edgardo and many other artists to adapt their repertoire and include covers of much better-known songs, as that was what a whole segment of the public demanded most.

Edgardo and his parents — Edgardo Cambon with his parents Blanca Fraga and Jose Maria Cambon in 1981

Performance at the San Francisco Salsa Festival

One of the festivals he has attended was the 2026 edition of the San Francisco Salsa Festival, organized by John Narvaez and Elizabeth Rojas, who had previously hired him to offer percussion classes. Edgardo & Candela had an extremely successful performance on Thursday, March 26, which was the day of the opening.

The artist took the opportunity to remind us that he has also been performing for years at the San Jose Jazz Festival and the Monterrey Jazz Festival, the first time the organizers hired a Uruguayan bandleader, and he was one of the few to perform salsa that day. In addition, he had the honor of introducing candombe (a traditional Uruguayan rhythm) mixed with salsa and traditional drums.

Top moments of his career

After such a long career, he has logically experienced moments that marked a watershed that forced him to adapt to the new trends. One of those changes was the replacement of the vibraphone (a very delicate instrument) by the trombone, which represented a significant sonic leap, as the musicians had to switch from a percussion instrument played with drumsticks to a brass instrument that runs on air and lip pressure.

With the arrival of Karl Perazzo, he proposed to Edgardo that they start using trombones, and he agreed to when seeing the potential of the instrument. So, that was when the group became a septet, having previously been a small ensemble in which the three percussionists played and sang simultaneously, making the band sound bigger than it really was.

Edgardo and Israel — Edgardo Cambon and Israel Tannenbaum

Some time later, Edgardo made a series of trips to Cuba that completely transformed his mind and his way of seeing and playing music, since anyone could not go on stage in that country. It was then that he felt inspired to release his album “Madre Rumba, Padre Son,” in which he gives all credit to what he learned from Cuban music and its greatest exponents. He also took the opportunity to mention some of his other biggest influences, such as the politicized lyrics of Ruben Blades in the 1970s, Los Van Van, Isaac Delgado, and many others.

Another aspect that changed over the course of his career was the way the media, radio specifically, was transforming as the years went by. However, there were always communicators willing to promote his work, such as Chuy Varela, Louis Medina, and Chata Gutiérrez, who supported him at the time despite being a local artist from Uruguay playing salsa in such a competitive environment.

Thanks to all those moments and the support he received, Edgardo managed to meet his biggest dreams such as making great music, continuing to live from music, and achieving international popularity. Although he hopes to continue reaping the fruits, he feels he has already achieved what he set out to do early in his career.

Edgardo traveled to Bogota — Edgardo Cambon during his last trip to Bogota

40 Anniversary of Edgardo Cambon’s career

Before telling us of his plans for his 40-year career, he reminded us how he celebrated his 20-year career at Yerba Buena Gardens, where he released his album “20 Años de Sabor.” The event was so successful that he will use the same venue to celebrate his 40th anniversary on August 6 this year. The concert will be completely free, suitable for all ages, and outdoor from 6:00 p.m. to 7:30 p.m.

That day, he will perform the best of his repertoire together with special guests who will make it a very special night, especially for Edgardo and his team.

And Edgardo also wanted to thank International Salsa Magazine, its editor Eduardo Guilarte and me for such a very positive interview on the occasion of celebrating the anniversary of his amazing career. The honor is all us and it is what a first-class artist deserves for leaving our heritage high.

How Artificial Intelligence changed the music biz forever

Since very recently, there has been a tool that gives machines and systems the ability to mimic many of the things humans do, such as writing texts, drawing, analyzing data, recognizing information, making decisions, among many others. Of course, we are talking about Artificial Intelligence.

One of the areas in which artificial intelligence has definitely impacted is music, reaching the point where it may even compose entire songs, write lyrics, and generate voices so realistic that they could easily be confused with those of humans. Because of the impact this set of technologies has had on the art world, we cannot stop talking about such an important issue that, whether we like it or not, has significantly changed and will continue to change the music landscape significantly.

Imagen created by Artificial Intelligence — This is an image about AI in music created by AI

AI and Music

Even when this could cause discomfort, it is not a secret for anyone that every day there are more facilities for those who make music without having the necessary knowledge to produce something of high quality in many cases, so they ride on all possible resources to make their job easier and simpler.

Artificial intelligence makes producing, composing, mixing, and mastering much less complex processes, and in many cases, human intervention is not necessary. Artists and all kinds of music professionals now have a much wider range of possibilities with which they can cross boundaries technology did not allow before. For this reason, it is imperative that they are trained as best as possible in these tools so they can get the most out of them, but trying to keep the human touch that every artistic product needs.

Benefits of using Artificial Intelligence in music

As we have made quite clear, artificial intelligence offers numerous advantages to all those who learn to use it, but what would be some of them?

Less chance of making mistakes: by limiting to the minimum human intervention, the chances of making a mistake that could harm the final result is very slim, delivering greater levels of confidence throughout any process.
Speed and efficiency in the processes: anyone who has had the opportunity to compose or knows someone who does understands that it can be a rather slow and arduous process, but artificial intelligence can make things easier beyond imagination. Something that usually lasts days or even weeks can suddenly happen in seconds, making this technology a huge draw for any music creator.
Greater creative possibilities: Because AI offers the ability to mix up styles and genres that an artist would not consider by himself, opening up a wide range of creative possibilities and helping to create unique and experimental songs.
Highest adaptability: another of the virtues of AI is the ability to create lyrics, adjust them, and adapt them to existing melodies.

AI has some disadvantages — AI offers many advantages, but also some disadvantages artists take into account

Challenges facing artists with artificial intelligence

So as we mentioned some of the virtues of AI, it is needed to be honest and admit that it can bring some problems when not used correctly. For an artist, there are certain things that can be harmful if he does not have the right training and a clear idea of what he/she wants to achieve:

Little originality: this is one of the aspects that most concerns those who criticize excessive use of AI in music, since this technology is based on pre-existing data. While it is true that AI can generate new things, its production only comes from previously made content.
Low emotional depth: one of the main criticisms against AI in the realm of artistic creation is the lack of emotional depth it sometimes offers. Music has been understood as one of the most emotional and human expressions an artist can convey, but unfortunately AI is occasionally unable to replicate it with the same intensity. These platforms cannot always grasp this emotional component, which is so necessary to create music with the level of authenticity and depth required to touch the hearts of audiences.
Concerns about job security of musicians: due the legal gray areas over which AI still navigates, there are many worries about job security of artists. Because this technology is capable of reproducing vocals and compositions that may well compete with those of humans, this could mean that the livelihoods of many workers of the music industry could be seriously affected.

Copyright law in relation to Artificial Intelligence

One of the most common doubts regarding AI is how the matter of copyright is handled, especially in the music industry, where there have been more than one scandal involving this topic. According to Intellectual Property Law, any copyrightable work should be completely original and created by a natural person. Could we say that an AI-powered song is original? Well, let’s see.

Given that originality has no clear definition in the law, the courts and the legal literature have set up the term, which results in the objective approach and the subjective approach.

Cover created by AI — Cover of NostalgIA with the voices of Daddy Yankee, Bad Bunny, and Justin Bieber. The song was made by the artist prototype Flow GPT

The subjective approach holds that a work is original if it is a true reflection of its author’s personality, while the objective approach makes references to creating something that did not exist before. The predominant approach in most countries that have enacted appropriate legislation on this matter is the subjective one, making it difficult for works created using AI to be protected by law. However, companies that provide this technology generally point out that the rights to the material created by their AI belong to them.

In view of the above, the law is very clear that the author must be a natural person, making it impossible for a work created with AI to be legally protected. It is for the same reason that, even if the objective approach predominates at some point, it would still be very difficult to protect this material.

What can we conclude from all this?

It is clear that Artificial Intelligence is here to stay and change the music industry forever, so struggling against it and its use is absolutely useless. For this reason, it is important to see it as an ally in improving what was done and not as an enemy to fight.

Although these platforms may have some disadvantages that have already been mentioned, proper training of artists can lower the chances of falling in the lack of human sensitivity and help integrate them into their work as effectively as possible, since AI is a reality with no turning back.

The Elegant One of Salsa Life and Legacy of Tito Allen, one of the most refined voices in our Latin Music

The world of Afro-Antillean music celebrates the birth of one of the genre’s most distinguished and sophisticated voices Roberto Romero Caballero, universally known in the music scene as Tito Allen.

Born on May 1, 1946, in the iconic neighborhood of Santurce, Puerto Rico, this pillar of salsa has left an indelible mark on the history of Latin music throughout a career spanning over four decades of artistic excellence.

The Origin of a Name with Tumbao

The stage name of this renowned sonero holds a curious history split into two parts. The first part, “Tito,” stems from a deeply rooted custom in Puerto Rican slang: the double diminutive. From Roberto, people began calling him “Robertito,” a nickname that over time affectionately evolved into “Tito.”

On the other hand, the surname “Allen” has a much more urban and accidental origin. The singer himself has confessed that during his youth, he saw the word painted as graffiti on a wall. The visual impact and the sound of the name pleased him so much that he decided to adopt it on the spot as his signature trademark for the entertainment world.

The Beginnings of a Multifaceted Star

Tito Allen’s musical journey formally began in 1962, when he was just a 16-year-old teenager. In his early days, the young Roberto showed a strong inclination toward rock and roll, a genre that was causing a frenzy among the youth of the 1960s.

During this formative period, Allen stood out as a bassist and guitarist, forming part of various musical trios that emulated the great bands of the era. These groups even enjoyed successful appearances on Puerto Rico’s Channel 4 television.

Fortunately for lovers of Caribbean rhythms, destiny guided him toward tropical music. His powerful voice, characterized by impeccable tuning and elegant phrasing, quickly made him a highly sought-after singer.

Dj. Augusto Felibertt, Orlando Watussi, Tito Allen y Jesus Torres

Among his major aesthetic influences, Allen has always expressed a deep admiration for Cheo Feliciano, whom he listened to with devotion during Feliciano’s era with the Joe Cuba Sextet. Likewise, he has repeatedly pointed to the Bobby Valentín Orchestra as one of his favorite bands of all time.

Conquering New York and the Big Leagues of Salsa

Determined to take his career international, Tito Allen traveled to New York in 1972. Although he initially tried to join the orchestra of the “King of the Timbal,” Tito Puente, Puente had no vacancies at the time. Far from discouraged, Allen joined forces with the prominent Colombian pianist Eddie Martínez to form a quintet that performed successfully in Big Apple nightclubs.

The true turning point came in May 1973. After a brief return to his native Puerto Rico, Allen went back to New York and, thanks to a recommendation from Eddie Martínez, scored an audition at the famous club El Corso. There, maestro Ray Barretto was looking for a vocalist to replace none other than Adalberto Santiago.

Allen rose to the challenge masterfully, recording the acclaimed album Indestructible (1973), a work that instantly enshrined him in the pantheon of salsa royalty.

A Legendary Journey: Following his successful run with the Ray Barretto Orchestra, Tito Allen fulfilled his dream of working alongside Tito Puente. Later, he joined the ranks of the legendary Típica 73 before launching a solid solo career.

His impeccable reputation also led him to become a fundamental part of the Puerto Rico All Stars, participating in two of their most iconic album productions. Additionally, he collaborated closely with the virtuoso Louie Ramírez, leaving an indelible mark thanks to his versatility.

The Golden Backup Singer of the Latino Neighborhood

Beyond his brilliance as a soloist and bandleader, Tito Allen’s career stands out for his generosity and professionalism in the recording studio.

His trained, melodious voice graced countless productions for artists of the stature of Pupi Legarreta, Ralphy Santi, and Conjunto Clásico, among many other representatives of “the ultimate expression of the Latino neighborhood.” His work as a backup vocalist was essential in defining the sound of New York and Caribbean salsa during the ’70s and ’80s, solidifying his status as a complete artist and a gentleman of music who today, more than ever, deserves the applause of his audience.

Also Read: Our friend Tito Allen supports the Salsa Museum