Night Club

Salsa at its best, led by the leader of La Puertorriqueña: Don Perignon

The most recent production of the Bailable Víspera de Reyes, which was instituted in 1987 by the timbalero and band leader known in the salsa scene as Don Perignon, was quite an event. Thirty-eight years ago, ‘La Puertorriqueña’ was still known as ‘Compañeros y amigos’.

El líder de La Puertorriqueña, Don Perignon

However, the dance that fulfills a promise made by Perignon to kings has continued to be celebrated beyond the names with which Perignon has identified his band over time.

Each year, the show brings with it a box of surprises. In addition to what is promised during the promotion, the salsa public that comes to the traditional gala knows that anything can happen there. This year, the stage showcased great artists in addition to the luxurious closing that gave us the night by way of El Caballero de la Salsa, Gilberto Santa Rosa performing the emblematic song by Johnny Ortiz, ‘Tu música popular’.

Ángel Martínez, Efraín Hernández, Don Perignon y Miguel Aponte

In this edition, held on January 5, 2025, the concert was started by the successor of the Perignon dynasty, also a percussionist, Pete Perignon; flanked by vocalists Ricardo Rodríguez in the more melodic songs and Julio López in the heavier numbers. López got the first turn at the microphone with ‘Azúcar pa’ un amarga’o’, followed by Rodríguez in the key of ‘Cuéntame tu historia’.

According to Pete himself, he invited Jorge Yadiel Santos to silence rumors regarding the singer’s departure from his orchestra. With the vocal power that characterizes him, the now soloist closed the presentation of the first orchestra of the night; performing ‘Baila’ and ‘Gotita caído en clave’.

Cuto Soto, Gamalier González, Rafy Torres, Pedro Marcano, Carlos __Coamito__ Martínez, Jr., Ángel Segarra y Humberto Ramírez

The group led by Pete Perignon and his timbal offered a great performance with master musicians of the present generation. These were: Jean Carlos Camuñas on the tumbadoras, Carlos Pagán on the bongó, Reynaldo Burgos on the piano, Jorge Rivera on the bass; Víctor Ambert and Jahaziel García on the trumpets; Darnell Febres and César Javier Ayala on the trombones, and Víctor “Yuca” Maldonado on the baritone saxophone.

La Mulenze kept the crowd on the dance floor, with the first song of their repertoire being ‘La sala pa’l baile’, performed by Rafy Andino. The vocal front was completed by Rafy Cruz and Alex Ojeda. The bassist, director of the orchestra of eternal youth, Edwin Morales led his boys, as he affectionately refers to his musicians; Among them were Emanuel Navarro on the tumbadoras, Robert Watts on the timbal, Alberto Muriel on the bongo, Manolo Navarro on the piano, Carlos “Coamito” Martínez, Jr. and Abdel Rivera on the trumpets; in addition to Willie Torres Ortiz and Heity Morales Nogueras on the trombones. The golden touch was offered to those present during the interpretation of the song “Mala paga”, written by our Moncho Rivera, when the Venezuelan master musician and sonero Marcial Istúriz took on the task of accompanying Rafy Andino on the soneos, shortly after Rafy confessed to being a great admirer of one of the greatest exponents of the salsa sound in Venezuela.

Henry Santiago, Joe González, Rico Walker, Marcial Istúriz, Hermán Olivera, Jerry Rivas, Pichie Pérez, Josué Rosado y Pedro Brull

Before starting his presentation, the star of the annual gala, Don Perignon marked and conducted the orchestra to play ‘Happy Birthday’ in honor of the evening’s host, also Z-93 announcer: Néstor Galán, “El Búho”. The timbalero conducted the orchestra, which was reinforced for the evening with guest musicians. The group in its Bailable Víspera de Reyes 2025 version was composed of: Charlie Padilla on the tumbadoras, Miguel Aponte on the bongó, Ángel Martínez on percussion (güiro), Luis Marín on the piano, Efraín Hernández on the bass; Cuto Soto, Gamalier González and Rafy Torres on the trombones; in addition to Pedro Marcano, Carlos “Coamito” Martínez, Jr., Ángel Segarra and Humberto Ramírez on the trumpets. For the vocal front, Perignon called on: Henry Santiago, Pedro Brull, Joe González, Pichie Pérez, Josué Rosado, Jerry Rivas, Rico Walker, Marcial Istúriz, Hermán Olivera and Gilberto Santa Rosa.

The repertoire took the followers of La Puertorriqueña on a historic tour that demonstrated the variety of songs and voices that come together in a salsa key with the cadence and flavor that Perignon manages to give to each project he leads. Joe González performed ‘Ciudad, ciudad’, Pedro Brull excelled singing ‘Represento’, Pichie Pérez was in charge of vocalizing ‘Como mangó’, Josué Rosado visited to sing ‘Cantándole al amor’, Jerry Rivas was in charge of ‘El pin pin’, Rico Walker shined with ‘Que vengan rumberos’, followed by Marcial Istúriz and a masterful interpretation of ‘La familia’ and Hermán Olivera with his spectacular ‘Ritmo Bembé’.

Marcial Istúriz comparte micrófono con Hermán Olivera

La Puertorriqueña was born in 1988 near the promise of Kings, which happens every January 5. The dance of January 5, 2025, which was held at the Sheraton in San Juan, Puerto Rico and was dedicated to trombonist Toñito Vázquez (RIP) showed that the promise of Reyes by Don Perignon -who is the leader of a generation of musicians- established more than three decades ago, remains valid. The participation of El Caballero de la Salsa recreated the beginning of his career, together with his first musical director: Don Perignon. That brotherhood between Gilberto and Perín, like the promise of Reyes, also remains valid. For our part, we will continue in salsa thanks to the call of the leader of La Puertorriqueña.

Also Read: Don Perignon and La Puertorriqueña are prides of Puerto Rico

International Salsa Magazine, always pioneer in offering new opportunities for the union of Latin Music through technological empowerment, offers the most important and innovative application for Smartphone will enter our ranks, Salsa Google, in alliance with the most successful Search Company and chosen by Internet users, Google.

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The world’s sonero returns to dance with the bass, this time from the Coca Cola Music Hall in Puerto Rico

On October 26, 2024, the Sonero of the World, Óscar D’León, arrived at the Coca Cola Music Hall in San Juan, Puerto Rico. The concert, scheduled for 6:00 p.m., began an hour late. However, attendees waited patiently until Óscar made his energetic entrance onto the colorful stage that was dressed in salsa for the occasion.

The world's greatest singer returns to dance with the bass, this time from the Coca Cola Music Hall in Puerto Rico — The world’s greatest singer returns to dance with the bass, this time from the Coca Cola Music Hall in Puerto Rico

For approximately two hours, the bassist was accompanied by his own orchestra, whose musicians traveled from Miami, Florida, USA. Between soneo and soneo, the Oscar of Salsa informed us that the inconvenience causing the delay had to do with a musician, who having stayed in Miami did not have the possibility of reaching Puerto Rican soil on time.

D´León, with more than half a century of musical career and a long list of hits, delighted the audience with the songs that have made him one of the favorite salsa singers of the Island of Enchantment. He started the evening with “Llorarás”, which ignited the passion of the audience gathered at the Coca Cola Music Hall, and who sang the hit at the top of their lungs alongside the bassist. This was followed by the songs “Bravo de verdad”, “Yo quisiera”, “Hechicera”, “Taboga” -from Dimensión Latina-, accompanied by his backing singer, Johnny Silva, “La murga”, “Detalles”, “La cadenita”, “Idilio” -also a duet with Johnny Silva- and “Mi bajo y yo”. During the interpretation of the latter he was accompanied by the instrument with which he achieved fame to recall his beginnings as a bassist, vocalist and dancer.

The world's sonero dances again with the bass — The world’s sonero dances again with the bass

The historic concert with the bass was followed by ‘Irimó’, ‘Sigue tu camino’, ‘La piragua’, ‘Que buen baila usted’, ‘En mi Viejo San Juan’, ‘La Mazucamba’, ‘El frutero’, ‘El manicero’, ‘Esa mujer’, ‘Juanita Morell’ and ‘Matasiguaraya’.

As usual, the concert was characterized by the energy of El León de la Salsa and the affection he receives every time he visits Borinquen. Rosalis Torres’ production team took care of every detail, making sure that everything flowed with the same impeccability as always. Once again, the salsa audience was pleased and waiting for the next concert.

Oscar D' Leon The Return — Oscar D’ Leon The Return

Also Read: Willie Rosario, El Rey del ritmo by journalist and music researcher Robert Téllez M.

Juan Sebastian Bar “The Temple of Jazz and Salsa in Caracas”

In the heart of the city, there is a refuge of sophistication and art: Juan Sebastián Bar.

Delight your palate with our cocktails, each a fusion of classic flavors and contemporary notes, while live jazz and salsa create the most special melodies.

In the heart of the city, lies a refuge of sophistication and art, Juan Sebastián Bar.

Aldemaro Romero, Alfredo Sadel, Billo Frómeta, Dámaso Pérez Prado, Tito Puente, Bobby Capó, Pedro Vargas, Leo Marini, Libertad Lamarque, Ray Barreto, Lucho Gatica, Olga Guillot, Marco Antonio Muñiz, Julio Gutiérrez, Vicky Carr, Armando Manzanero, Sergio Mendes.

They all passed through Juan Sebastián Bar, the so-called temple of jazz, but which is actually a brotherhood of music lovers. For 43 years it has been a reference in Caracas’ nightlife, even with its ups and downs. Every night, from Tuesday to Saturday, it offers a space for disconnection.

That brick cave, with its cork walls and the bar illuminated with bottle bottoms, has its anecdotes, the first one sinceevery night the famous saxophonist Victor Cuica threatened them and the second one. It stars the maestro Aldemaro Romero in a taxi heading to the place, one of his usual places to eat and drink.

The taxi driver who is already approaching the place located in El Rosal, comments: “poor those people who could not complete the facade and left it in bricks.” The scene speaks of that ostentatious and cosmopolitan Caracas of the seventies and eighties. The truth is that over the years the area was transformed into a financial district of large glass towers and the two-story brick house became the after office on Venezuela Avenue.

The name of the establishment, founded by Eleazar López Contreras -yes, the grandson of the former president of Venezuela- is a play on words with the name of the composer Juan Sebastián Bach, who holding a pair of cutlery serves as the logo for the business, under the design of Jorge Blanco, the famous illustrator who created the character of the Castaway.

In choosing the place, they considered other equally humorous options such as Bar Thoven.

The musical repertoire ranges from jazz to salsa. In the place you can listen to virtuosos of these genres such as Frank Sinatra, Ella Fitzgerald, Tonny Bennet, Héctor Lavoe and Willie Colón, among others.

Alfredo Naranjo, a percussion virtuoso who has left his mark on the international music scene, will delight us once again with his incomparable talent.

He recently participated in the Chicago International Festival and has received a Latin Grammy nomination for his unparalleled percussion performance on the album: Soy Puro Teatro: Tributo a La Lupe by Mariaca Semprún and with her, he also recorded a version of the gaita María la bollera.

Considered one of the greatest exponents of salsa and Latin jazz, Alfredo Naranjo has a long career that began at an early age at the Conservatory of Music of the National Youth Orchestra.

In 1986 he joined the Gran Mariscal de Ayacucho Orchestra, and then continued his training at the University of Long Island, New York.

He has played with artists such as Dave Samuels, Tito Puente, Ray Charles, Alex Acuña and Carlos “Nené” Quintero, and groups such as Guaco and Ensamble Gurrufío. Cheo Feliciano referred to him as “the best vibraphonist in salsa.”

He has been the leader of El Guajeo, a fundamental piece of contemporary Caracas. He has recorded albums such as Cosechando (1993), A través del tiempo (1997), Vibraciones de mi tierra (1999), Alfredo Naranjo y El Guajeo I y II (2001 y 2006), México Music Fest (2011), Lado A Lado B (2015) and Be Jazz Sessions (2018), an album that was awarded at thePepsi Music Awards in the Jazz Album category.

Enjoy a unique evening in a sophisticated atmosphere, where the passion for music is breathed in every corner.
Let yourself be seduced by the enveloping rhythms of Latin music in a sophisticated atmosphere.

Every Wednesday, Dj. Augusto Felibertt transports us through a unique musical journey.

Every Wednesday, DJ Augusto Felibertt takes us on a unique musical journey.

We look forward to seeing you at @Juansebastianbar to enjoy an unforgettable evening!

Wednesday to Saturday from 5:00pm on Venezuela Avenue and Mohedano Street, El Rosal.
Reservations at 0414-3080587

Also Read: Gato Barbieri was an excellent and virtuoso Argentine saxophonist par excellence

Nanette Hernández promotes the bomba and plena in New Jersey

We know that the most of our Latin countries have historically become known for genres such as salsa, merengue, bachata and more recently reggaeton and trap. However, the popularity of the aforementioned genres made us leave aside other more local rhythms that also deserve exposure.

On this occasion, we wanted to talk about the bomba and plena, so we resolved to interview Nanette Hernandez, who is one of its main proponents here in the United States, more specifically in New Jersey.

This is Nanette Hernández, who is a great promoter of the bomba and plena

How Nanette became interested in the bomba and the plena

Nanette began by telling us that her interest in music was born thanks to her parents, who are Puerto Rican and moved to the United States, Pennsylvania, during the 1950s to continue their life in this new country. However, his home was built based on Puerto Rican culture and, of course, that included language and music. Her father had an ensemble that played jibaro music and Nanette grew up watching this, so this musical environment was always very familiar to her.

As she grew up, Nanette also became very interested in dancing and discovered that she really liked salsa when she was just a teenager. She remembers listening to Celia Cruz, Johnny Pacheco, El Combo de Puerto Rico and many of the most popular groups and musicians of the time, who also inspired her to keep dancing. She felt that she was encouraged just by dancing, so she continued to do so over the years, but not professionally.

After marrying Juan Cartagena and seeing that she and her husband shared a taste for Latin music, they began to frequent places where Puerto Rican music groups performed. That is how they were in a show of the dance and drum ensemble ”Los Pleneros de la 21”. They were so fascinated by what they saw and heard that both Nanette and Juan began to study the plena and bomba because they wanted to know everything about these rhythms. Their interest was such that they were even in contact and consistently et with the Cepeda family, which is a cultural institution with many years of experience in everything to do with the bomba and plena.

She also mentions that Roberto Cepeda, part of the aforementioned family, was very important in her decision to devote herself to promoting the bomba and plena and feels that he saw something in her that even herself was not able to see, so she decided to search for expert teachers in these genres to become more professional in the dancing and instrumental part in order to be able to teach them to others.

Differences between the bomba and plena

When we asked Nanette about the differences between the bomba and plena, she made it very clear that people often think that they are almost the same, but they are not. They are extremely different and have many differences from each other.

In the case of the bomba, it has re than 400 years of existence and originated in Africa. The genre arrived in America along with the slaves who were brought to the New Continent and the new inhabitants of these lands brought their improvised instruments with them such as the so-called ”barrels”, which have a great resemblance to drums. They are often accompanied by maracas.

In the case of the plena, this rhythm uses the pandero, the güiro and other smaller hand instruments with which they make a completely different sound from the bomba. To complement what Nanette told us, we can also say that the plena is believed to originate in Ponce, Puerto Rico, and its lyrics are very focused on comedy, activism and denunciation. In addition, it is also seen as a very peculiar mix between African and European music.

Another difference between the bomba and plena is that, in the bomba, it is the dancer who leads and guides the musicians, while in plena the opposite happens. These genres are very different from each other, but that does not change the fact that both complement each other perfectly well in any show or class.

Nanette next to her husband Juan Cartagena, Segunda Quimbamba's founder — Nanette next to her husband Juan Cartagena, Segunda Quimbamba’s founder

How Segunda Quimbamba came about

Segunda Quimbamba is a project initiated in 1989 by Juan Cartagena, Nanette’s husband, which was born as a result of the couple’s interest in promoting two of the most important ancestral rhythms from Puerto Rico and preserving the most important musical traditions on the Island of Enchantent, such as the ”parrandas”. A few years later, they began introducing the bomba and plena until they became the center of the project.

In 1997, Nanette and Juan founded the Segunda Quimbamba Folkloric Center, which is a non-profit arts organization that seeks to promote the bomba and plena in New Jersey and the rest of the United States so that those interested can learn more about Puerto Rican music and culture in general. The organization also seeks to offer music and dance workshops at solidarity prices and even for free at times.

Nanette and Juan have been invited to participate in numerous events and have been recognized for the role they have played in promoting Latin music, especially that of Puerto Rico. For example, in 2023, The New Jersey State Council of The Arts recognized the couple with the New Jersey Heritage Fellowship Award in honor of what they have accomplished with this wonderful and ambitious musical project.