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Adriana Mosquea: Between Strings, Winds, and Spirituality

Vocal Excellence, Instrumental Versatility, and Artistic Training

Adriana Carolina Mosquea Santana, born on August 25, 1993, in Santiago de los Caballeros, Dominican Republic, is a multi-faceted artist who has built a solid career as a solo singer, bassist, stage actress, and vocal coach.

Adriana Mosquea Between Strings, Winds and Spirituality

Early Training and First Steps

She began her musical journey at the age of five in school and church choirs. At nine, she entered the Centro de la Cultura de Santiago, where she studied singing, electric bass, and classical guitar. By age 17, she became the only female voice and bassist for the fusion group Oveja Negra.

After an accident that hindered the mobility of her hands for eight months, she defied medical diagnoses and achieved a full recovery through self-directed therapy, resuming her career with groups such as Sol Latino and La Piña Tá Dulce.

The Leap into Lyrical Music and Theater

In 2014, she received a scholarship from the La 37 por las Tablas school, joining the elite vocal group Les Cantatis. Under the tutelage of Roberto Guzmán and María Ligia Grullón, she performed pieces by Vivaldi, Pergolesi, and Tchaikovsky, and participated in the opera Carmen. In 2019, she was part of the choir for the opera La Traviata at the National Theater, conducted by José Antonio Molina.

Solo Career and National Projection

As a soloist, she has released tracks such as Humo y Humo and Zombie, performing at festivals like Arte Vivo and the Alliance Française. Her multidisciplinary project, Circo Imaginario, led her to open for the iconic Dominican rock band Toque Profundo.

Her appearance on Dominicana’s Got Talent in 2019 earned her massive recognition and excellent reviews from the judges. That same year, she joined Belkys Concepción y las Damas as a bassist and backing vocalist, sharing the stage with legendary figures like Johnny Ventura and Fefita la Grande.

Adriana Carolina Mosquea Santana, born on August 25, 1993 in Santiago de los Caballeros, Dominican Republic

Professional Background and Academic Formation

Adriana’s dedication goes beyond performance; she is an art scholar. She holds a degree in Art History and is currently pursuing a degree in Special Needs Education, focusing on music pedagogy.

Key milestones in her professional journey include:

Oveja Negra: Her first professional group at 17, where she served as the bassist.
Son Santiaguero & Sol Latino: Projects where she explored Cuban Son and alternative rock.
Belkys Concepción: She performed as the bassist for the band led by “The Mother of Merengue,” highlighting Belkys’ overwhelming energy on stage.

Innovation During the Pandemic and Recent Collaborations

Between 2020 and 2021, she produced her album Arte, Magia y Libertad (Art, Magic, and Freedom) in collaboration with Venezuelan producer Daniela Yánez. Her singles have received nominations at the Indie Dominican Awards and Expo Cibao.

Additionally, she participated in the In Memoriam segment of the 2020 Soberano Awards and composed part of the soundtrack for the film La Soga 3. In 2025, she stood out in a tribute to Maridalia Hernández, performing the duet Te Ofrezco.

Pedagogical Work and Vocal Coaching

Currently, Adriana is a prominent vocal coach. She has been a key figure in the technical evolution of the artist Tokischa, working on projects nominated for the 2025 Latin Grammys and 2026 Premios Lo Nuestro. She is a graduate in Art History and is currently completing a Degree in Pedagogy at CESUMA University in Spain.

Excelencia Vocal, Versatilidad Instrumental y Formación Artística

“Singing is a means of expression and healing. My focus is on a balanced life and technical discipline to set the voice free.”

The Multi-instrumentalist and the Winds of Communication

Although her primary instrument is the bass (and double bass in her early years), Adriana is proficient in guitar, piano, drums, and ukulele. her foray into woodwind instruments, such as the clarinet and saxophone, was born from a spiritual search:

“Wind instruments work with air, which is communication. As an artist, I needed to work on my ability to communicate what I was keeping silent.”

Identity, Flavor, and Spirituality

Proud of her roots, Adriana describes Santiago de los Caballeros as a peaceful “city-countryside.” Her palate travels between the Dominican Sancocho de siete carnes and the Venezuelan Mondongo, a dish she confesses has captivated her.

For her, music and spirituality are tools for self-knowledge. She defines spirituality as the acceptance of human duality—seeking balance between light and shadow, far from the pretensions of the ego.

Also Read: Dominican bandleader and singer Papo Ross is triumphing in Montreal

Venezuela. Gran Sabana Canaima National Park

Latin America / Venezuela / Bolivar

“Venezuela is one of the countries located in South America, facing the Caribbean Sea and the Atlantic Ocean, bordered to the South by Brazil, to the West by Colombia, and to the East by Guyana:

It is known for being one of the countries with a wide variety of climates, but primarily tropical. It boasts a rich diversity of flora and fauna, and therefore offers a wide range of tourist attractions. Among these, we can mention the Guayana Region, home to the ‘Gran Sabana,’ one of the most exotic and incredible places with a very pleasant tropical climate.

Venezuela. Gran Sabana Canaima National Park

It’s also the oldest, dating back to the Precambrian era, where we can appreciate the Tepuis – large mountains or plateaus that were eroded by rainfall. There’s also a great variety of waterfalls, rivers, and lagoons. One of the most popular tourist spots in the region is ‘Canaima National Park,’ where we can admire its incredible lagoon with various falls or waterfalls, and a more or less close view of several Tepuis.”

“Canaima National Park is one of the most visited and extensive places in the Gran Sabana. It’s a vast natural reserve featuring unique and special abrupt landforms found nowhere else in the world. The Tepuis that can be observed have vertical walls and almost flat summits. One of the most well-known is ‘Mount Roraima,’ famous for being the highest and easiest to climb in the entire park, and ‘Auyan-Tepui,’ which is the most visited as it is home to the world’s highest waterfall, known as ‘Angel Falls.'”

Ángel Luis Canales is a renowned Puerto Rican singer and composer known as “El Diferente” (The Different One) for his particular and irreverent style

Angel Canales was born on June 29, 1950, in Santurce, Puerto Rico.

During his childhood, around the age of 8 or 10, he moved with his family to New York City, where he lived in East Harlem (Upper Manhattan). Musical influences indicate that from a young age, he was strongly influenced by the music of Cortijo y su Combo and Ismael Rivera.

Before or concurrently with his musical career, he worked in the jewelry business; he was a messenger and later learned to cut and polish diamonds, a skill that allowed him to self-finance his musical career and pay high salaries to his musicians.

Ángel Luis Canales is a renowned Puerto Rican singer and songwriter known as El Diferente for his unique and irreverent style.

Musical Career

His Beginnings: He started as a timbalero in Ray Jay’s orchestra, where he debuted as a singer, replacing the lead vocalist.

His first album (1970), titled “Brujería,” was released in 1970 and recorded under the Alegre Records label, with musical direction by Mark Dimond. Hits from this production include “El Barrio,” “Yo No Tengo Pena,” and the title track.

Notable Hits: Among his most popular songs are: “Nostalgia,” “Sol de Mi Vida,” “Perico Macoña,” “Lejos de Ti,” “Hace Tiempo,” “El Cantante y la Orquesta,” “Sabor de los Rumberos Nuevos,” “Bomba Carambomba,” and his celebrated rendition of the bolero “Dos Gardenias.”

His Unique Style is recognized for its unorthodox approach and distinctive vocal timbre, which earned him the nickname “El Diferente” (The Different One).

He was a highly independent artist who self-financed his albums and founded his own record label, Celanac Records.

Tours and Retirement

International Tours: He toured internationally, visiting countries such as Panama (his first), Venezuela (where he performed at the Poliedro de Caracas in 1982), Colombia, and Peru. It is said that he never performed with his orchestra in his native Puerto Rico.

He retired in the late 1990s, deciding to leave the stage.

Currently, he is reportedly battling Parkinson’s disease, which has limited him and led him to choose silence and retirement, although he occasionally attends private events. He is currently 75 years old.

Àngel Luis Canales, y el pianista, compositor y arreglista Gilberto el pulpo Colòn

50 Years Since the Launch of “Sabor” (1975)

The Album: The album titled “Sabor” by Angel Canales was released under the Alegre Records label in 1975.

Only a boricua (Puerto Rican) who has been absent from their homeland knows what it’s like to be away from Puerto Rico when winter arrives in New York City. Or when you’re inside a taxi or walking the congested streets of the Bronx or the Latino barrio, and all you see around you are skyscrapers and more skyscrapers. The anxiety and sense of helplessness that overwhelm your spirit in the concrete jungle can only be calmed by memories.

50 years ago, on Monday, November 10, 1975, the unique voice of Puerto Rican singer Ángel Luis Canales consoled the thousands of boricuas oppressed by nostalgia with his composition “Lejos De Ti” (Far From You). It was a confession and affirmation of his Puerto Rican identity, in which he asserts that his love for his homeland will never die, even though he was raised in New York.

The song is a guaguancó with lyrics that evoke images of old San Juan, Villa Palmeras and its rich bomba heritage, Boca de Cangrejos, fried fritters on the grill, and the river that crosses through the old Ancón de Loíza Aldea, where his grandmother lived. “Lejos De Ti” remains the most remembered track from “Sabor,” an album produced by Joe Cain, recorded in late 1974, and released by Alegre Records on Monday, November 10, 1975.

Angle Canales Sabor 1975 Photography By Dominique

This album is considered one of the best salsa releases of the 1970s.

Canales’ Style: Canales favored a different style of interpreting Afro-Caribbean rhythms, combining elements from Héctor Lavoe, Ismael Rivera, Vicentico Valdés, and Paquito Pérez (the singer of the Orquesta Zodiac of Loíza). He extended the melodies with his nasal voice, challenging the poetry of the montunos, but going off-key and mispronouncing some words. His diction was far from perfect.

Production: The architect of Canales’ success was Colombian pianist Edy Martínez, who arranged seven of the eight tracks on this session, from cut #2 to #8. Due to a prior commitment with Mongo Santamaría’s band, he left his compatriot José Madrid in charge of the piano performance on this record.

Under Martínez’s direction, Canales embraced fame. “Sabor” was his second album between 1970 and 1971, he had recorded the “Brujería” session with pianist Mark Alexander “Markolino” Dimond, who founded Conjunto Sabor after spending several years with Willie Colón’s band.

Canales reappeared four years later with the Orquesta Sabor los Rumberos Nuevos with an arrangement by Louie Cruz. That same year, 1975, Larry Harlow produced Mark Dimond’s classic “Beethoven’s V” featuring vocalists Frankie Dante and Chivirico Dávila. “Sabor” was a huge hit.

Tours and Artistic Choices: The singer toured Europe, the United States, and South America, where Colombians, Panamanians, and Peruvians remember him fondly to this day, despite health issues forcing him to retire from the stage.

During the golden age of salsa, singers were expected to master all genres, and boleros were no exception. His vocalization on “La Hiedra” (a track written by Saverio Saratini and Vincenzo D’Acquisto) and “No Te Acostumbres” (a track belonging to Doris Aghian’s catalog) is notable for its theatricality, a trick Canales employed to mask the limitations of his voice.

Salsa dancers who thrive on piano, trombone, and percussion solos will be delighted with “Sabor Los Rumberos Nuevos,” “Sol De Mi Vida” (dedicated to his wife Brunilda), “El Cantante y La Orquesta,” and the hit “Hace Tiempo” (with its memorable chorus: ay, ay, ay, no me hagas padecer así – oh, oh, oh, don’t make me suffer like this).

Legacy: Before becoming a professional singer, Canales worked as a jeweler. A look at the covers of his first two albums is enough to conclude that he was a pioneer in the use of bling-bling in salsa. As a composer, Canales was a solid chronicler of barrio life. The story told in “Perico Macoña” is a good example: a man who smokes a joint and loses all self-control, insulting his own friends with his abrupt comments.

The re-issue of “Sabor” is a fitting tribute to the memory of the late Joe Cain.

Credits

Trombone: Juan Torres, Ricardo Montañez
Trumpet: Tom Malone
Baritone Saxophone, Flute: Emérito Benítez
Piano: José Madrid
Bass: Eddie Testo
Congas: Antonio Tapia
Timbales: Gadier Quiñones
Bongo: Aldemaro Luis Rivera
Producer: Joe Cain
Musical Director: Juan Torres
Recorded at: LE Studio NYC, December 1974
Engineer: Sandy Sina
Arrangements: Edy Martínez (except “Sabor Los Rumberos Nuevos” by Louie Cruz)

Torres, Montañez, Tapia, and Quiñones had previously collaborated with Canales on Markolino Dimond’s “Brujería” album.

Collaboration:

Angel Canales «El Diferente» recibiendo la produccion de Danilo Cajiao Titulada»Mi Perdicion» año 2020

Also Read: Angel Canales «El Diferente» receiving the production from Danilo Cajiao titled »Mi Perdicion» year 2020.

Alberto Crespo and Carlos Santos Release Their Latest Single “Narci” with Grupo Bacheo to the Latin Market

On November 7, 2025, the vibrant Latin music scene celebrates a stellar collaboration that promises to ignite dance floors.

The acclaimed Venezuelan pianist, arranger, and music producer Alberto Crespo joins legendary Puerto Rican sonero Carlos Santos and the talented Grupo Bacheo to present their latest musical track titled “Narci.”

Alberto Crespo and Carlos Santos release their latest song, titled Narci, to the Latin market with Grupo Bacheo

This original composition by Ali Delgado and José Granados, featuring arrangements by Alberto Crespo himself, fuses a modern sound with the unmistakable rhythm of salsa, guaranteeing a musical experience that will delight dancers.

Alberto Crespo: A Piano Master with an International Career.

From his beginnings at the “José Ángel Lamas” Music Conservatory in Caracas, Alberto Crespo demonstrated exceptional passion and talent. His deep immersion in harmony, counterpoint, orchestration, and improvisation has established him as a versatile and well-rounded musician.

By age seventeen, he was already touring with renowned orchestras, sharing the stage with icons such as Naty y Su Orquesta, Celia Cruz, Bobby Capó, Carmen Delia Depini, Carlos Cano Estremera, Andy Montañés, Ismael Miranda, Pete Conde Rodríguez, and José Mangual Jr., among many others.

Alberto Crespo A Piano Master with an International Career

With over three decades of experience in salsa and Latin Jazz, Crespo has consolidated his reputation as a highly prestigious producer, arranger, and pianist. His impressive list of collaborations includes national and international artists such as Maikel Stuart, Frankie Morales (former singer for Tito Puente), Orquesta Bailatino, Grupo Mango, Herman Olivera, Rumberos de Callejón, Gilberto Santa Rosa, and Naty y Su Orquesta. His versatility has led him to be part of the most prominent musical groups in Venezuela.

Carlos Santos: A Classy Sonero with a Legendary Trajectory.

Born on March 13, 1946, in Cataño, Puerto Rico, Carlos Santos is a true sonero whose career took off with Joey Pastrana’s band. His powerful voice and unmistakable salsa flair led him to perform and record with emblematic salsa orchestras, including “Kako y su Trabuco,” “Los Kimbos,” “Conjunto Candela,” and Roberto Roena’s “El Apollo Sound,” in addition to special performances with Ray Barreto and El Conjunto Libre.

Santos has left classics for posterity such as “Chacaboom,” “Las cosas de la vida” and “Amor verdadero” with Joey Pastrana, as well as “Flores para tu altar” and “Me imagino” with Conjunto Candela. His voice also enriched productions by Eddie Palmieri and Los Kimbos with tracks like “Caridad” and “Todo el mundo.” During his time with El Apollo Sound, he garnered hits such as “El Progreso” and “Háblame ahora.”

Carlos Santos Un Sonero con Clase y una Trayectoria Legendaria

Carlos Santos currently resides in Florida, United States, and continues to delight audiences with his international and local performances.

The union of these two pillars of salsa, under the production of Chongo Producción (from New York) and Juancho Producción (in Cali), promises to be a memorable event for Latin music.

Ali Delgado (Caracas) y Juancho Producción (Cali)

Note: “45 RPM is for sale in Cali by Juancho Producción, and will be presented with great fanfare on December 30 at 10:00 a.m. at the Meeting of Music Lovers and Collectors (Encuentro de Melómanos y Coleccionistas) of the Cali Fair, Colombia. 2025.”

Production Credits

General Production

Production: Alberto Crespo & Chongo Productions LLC

Musical Team

Composer: Ali Delgado / José Granados
Vocalist: Carlos Santos
Arrangements: Alberto Crespo

Musicians

Timbal: Carlitos Padrón
Tumbadoras (Congas): Manuel “Manny” Márquez
Bongó / Bell: Carlitos Padrón
Trumpets: Jorge Maestre “Pitufo”
Baritone Saxophone: José Antonio Fariñas
Bass: José Soto “Mortadelo”
Percussion: Carlitos Padrón, Carlos Crespo
Chorus / Background Vocals: Heyzer Cabrera & José Soto “Mortadelo”

Recording and Post-Production

Recording Studios:
- Chongo Estudios (New York)
- A Tempo Estudios (Caracas)
- París Recording Estudios (USA)
Mixing: Heyzer Cabrera / Alberto Crespo
Mastering: Heyzer Cabrera

Important Note by Alberto Crespo:

I was working on the arrangement for the song NARCI, and when I reached the chorus, I wanted to find a beautiful melody with a different harmony, like a chorus of angels singing from heaven. I was pacing around my workspace and the areas near my house, searching for ideas.

My wife, Adriangela, was listening to what I was developing to achieve a final connection, and all of a sudden, she sang that beautiful melody to me. I immediately copied it and added the chords, and honestly, it was something magical, very spiritual… “Ya no estás más a mi lado, cómo te extraño, mi amor, cómo te extraño…” (You are no longer by my side, how I miss you, my love, how I miss you…) That final unison of the chorus is very subtle and sentimental.

Video

Video: Chongo Productions LLC

Carlitos Padron Director de Chongo Producción (desde New York)

Listen to “Narci” on YouTube:

Alberto Crespo y Bacheo

[email protected]

+58 4142521642

Also Read: The Conjunto Bailatino “La Resistencia Salsera” again “Antes los ojos del Mundo” and here, “No hay quinto malo”

70th Anniversary of the Sonora Ponceña at the Roberto Clemente Coliseum

Major guests joined the historic Sonora Ponceña concert, which was held on Saturday, November 1, 2025, at the Roberto Clemente Coliseum in San Juan, Puerto Rico, to mark the 70th anniversary of the musical career of one of the most important orchestras in the salsa scene.

The concert kicked off with a performance by the virtuoso timbalero, singer, and orchestra director Manolito Rodríguez. His orchestra, La Zónika, set the venue on fire with refreshing versions of ‘Encántigo’, ‘Sin tu cariño’ (Without Your Love), ‘Nina’, ‘Antillana’, ‘Maestro de rumberos’ (Master of Rumba Dancers), and ‘Piano man’. It’s worth noting that Manolito was part of “La Ponceña” from 2004 until the end of 2007.

Once La Zónica had warmed up the coliseum stage, the Sonora Ponceña began to deliver its repertoire, which included ‘Prende el fogón’ (Light the Stove), ‘Ñáñara cai’, ‘Ramona’, ‘Boranda’, ‘El rincón caliente’ (The Hot Corner), ‘Tumba Mabó’, and ‘Las mujeres son de azúcar’ (Women Are Made of Sugar) sung by Daniel Dávila; ‘Como amantes’ (Like Lovers), ‘Como te quise yo’ (How I Loved You), ‘Sigo pensando en ti’ (I Keep Thinking of You), ‘Timbalero’—which allowed the timbal player to dedicate himself to the instrument with a spectacular solo, ‘Fuego en el 23’ (Fire in ‘23), and ‘Luz negra’ (Black Light) performed by Darvel García. In fact, shortly after Darvel performed ‘Como amantes’, he was in charge of welcoming the pianist, composer, arranger, and director of the Sonora Ponceña, Papo Lucca, who enjoyed the concert from the stage in a wheelchair.

Omar Ledée, uno de los invitados de la Sonora Ponceña Foto By Conrado Pastrano

The rotation of the repertoire allowed for a dynamic interspersing of performances by the guests whom the concert production granted access to the celebration.

With 90 years of sabor (flavor/soul) and salsa, Luigui Texidor, who left the Sonora Ponceña in 1973, returned smiling and grateful. Texidor, who recently received the welcomed honor of seeing his name mark the street leading to Colonia Las Flores in Santa Isabel, his hometown, sang ‘El pío pío’, ‘Bomba carambomba’, and ‘Noche como boca de lobo’ (Night Like a Wolf’s Mouth / Pitch-Black Night).

Sharing that same celebratory vibe, one of the most remembered voices of “Los gigantes del sur” (The Giants of the South), Yolanda Rivera, who was part of “La Ponceña” until 1982, was heard. Rivera proudly recalled her seven years as a member of the orchestra while thanking the invitation to the historic concert, where she performed ‘Hasta que se rompa el cuero’ (Until the Skin Breaks), a track that featured a powerful bongo solo.

Omar Ledée performed ‘Remembranzas’ (Remembrances), originally recorded in the voice of his father, the late and ever-remembered Toñito Ledée, whom Omar represented in a heartfelt posthumous tribute.

Another fan favorite of the Sonora Ponceña followers is Pichie Pérez, who joined the group in 1983 “in substitution of Miguelito and Yolanda.” The singer performed ‘Te vas de mí’ (You Leave Me) and the updated version of an emblematic track, which for the celebration was titled ‘Jubileo ‘70’ (Jubilee ‘70), and which Pichie himself describes as “one of ‘La Ponceña’s’ iconic tracks and the first unreleased track I recorded.” The vocalist was associated with the orchestra for three decades, from 1983 to 2013. Since his departure, he has been promoting his solo career, making this the first time in 12 years he was heard live with his “alma mater” orchestra.

Orquesta La Zónika de Manolito Rodríguez, abriendo el espectáculo Foto By Conrado Pastrano

Wito Colón, who left the Sonora Ponceña 15 years ago, arrived ready to sing ‘Hachero pa’ un palo’, ‘Vas por ahí’ (You Go Around), ‘Yaré’, ‘Yambeque’which interspersed a powerful tumbadora (conga) solo, and ‘Sola Vaya’ (Go Alone), the latter song performed with Daniel Dávila and Darvel García. The vocalist was hailed by concertgoers as “the champion of the night” for his vocal power, as well as his charisma before the ardent audience.

Undoubtedly, it was an unforgettable night.

Also Read: Bella Martinez, the irreverent Salsa writer