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Actress, comedian, and singer Carmen Nydia Velázquez tells us about the best of her career

Through a very kind friend of our editor Eduardo Guilarte, María del Carmen, we have been fortunate to make contact with the extremely talented Puerto Rican actress, comedian, and singer Carmen Nydia Velázquez, with whom we had the opportunity to talk with for our report on Bad Bunny’s Super Bowl halftime show.

It turns out that her career is so fascinating that we obviously had to talk to her and know much more about her artistic journey, both in her native Puerto Rico and abroad. Without further ado, these are the highlights of our conversation.

Carmen Nydia cantando — Carmen Nydia Velázquez singing live

Carmen’s education and start in acting

When it came to her academic background, theater always caught her attention, but she also loved to sing. These tastes led her to study drama at the University of Puerto Rico, where she brought out her histrionic talent and showed just how good she would be at doing comedy in the future.

Even before graduating, she already worked in theater and appeared in Francisco Arrivi’s play *Vejigantes*. At that time, she was in her last academic year, and the play was a tribute to the great Puerto Rican actress Lucy Boscana, who had died back then. For many years, Boscana played the character of Toña, and Carmen did the same when it was her turn in this new version, which had so much impact that it led to a film based about the same story.

Then, in the 1970s, she joined the musical group Moliendo Vidrio, led by Gary Núñez, and was there for about 11 years, while doing theater and television. The group took up a lot of Carmen’s time and was part of the New Song movement in those days.

Kiosko Budweiser and Susa Cruz

In 1983, Carmen first portrayed who is still considered one of her most iconic characters to this day, Susa Cruz. Channel 7, known at the time as Teleluz, first aired the comedy segment Kiosko Budweiser, featuring the beloved Susa alongside other iconic characters such as Epifanio, Johnny El Men, Humberto, and El Negrito.

Carmen Nydia and Victor — Carmen Nydia Velázquez (Susa) and Víctor Alicea (Epifanio)

When Teleluz ceased to exist, Carmen took a break from the character to continue her theatrical activities and start singing professionally. However, later, Channel 4, Guapa Televisión, called the actors back to do the segment again, which is when it became a media phenomenon and gave immense fame to the characters, especially Susa and Epifanio.

The high popularity of the show and its stars made them appear on TeleOnce, which continues to air today, and Telemundo, where they are recurrent figures during the regular programming.

People enjoyed Susa and Epifanio so much that they have even hosted a radio show, and both Carmen and Víctor Alicea (Epifanio) will soon celebrate their 38th anniversary as an artistic couple, though they have not yet decided what to do for that day.

Tiempo de Cantar

By the late 1990s, she released an album of boleros titled “Tiempo de Cantar,” which was her first solo production. It all started with a show by Susa and Epifanio in the south of Puerto Rico, where they met a musician friend of hers named Cacho Montalvo.

He has spent many years urging her to go back to singing, but she ws not entirely sure due to all the professional commitments she already had, added to the fact that she did not have very fond memories from the time in which she had to promote her own music of the New Song movement which, being so traditional, did not receive the media coverage it deserved. This killed Carmen’s enthusiasm, as she took for granted that she would never sing professionally again.

However, Montalvo and Carmen’s husband “conspired” to some extent to convince her, and they succeeded. On the album, the artist pays tribute to the songs she grew up with and used to hear on the radio as a child, achieving a result she loved.

Carmen Nydia and Oscar — Carmen Nydia Velázquez y Oscar D’ León

Her solid background in theater gave her the ability to convey her feelings through her voice and expressions, which made her have a wide acceptance. In fact, she is now a member of the Music Hall of Fame in Puerto Rico, a venue dedicated to romantic and bohemian music that hosts live events featuring artists associated with those genres.

Hacienda Susa

Among the many projects she was involved in, Carmen also ran a restaurant and activity center called “Hacienda Susa.” She describes this stage of her life as interesting, yet exhausting and demanding at the same time.

Due to the success she had on television, the project did very well, so she and her team were there doing shows for visitors from all over the island practically every day. The problem was that it was too much work for her at the time, and she told us that sometimes, she had to leave the hacienda to perform a show outside, return to meet her commitments there and then close the venue.

The above, added to the fact that everyday fewer people were coming to the venue and the extremely high rent Carmen had to pay, made her ask herself if it was really worth continuing with the project in exchange for those dividends. That was when she finally got tired of it and decided to close the venue indefinitely to focus on what she was truly passionate about: acting.

Album by Carmen Nydia — Cover of the album ”Tiempo de Cantar” by Carmen Nydia Velázquez

Profile of Raimundo Elpidio Vázquez Lauzurica: The Guardian of the Rhythm in Sonora Matancera

The heir to a musical dynasty that defined the sound of the “Dean of Latin Ensembles”

On March 15, 1934, the Jesús María neighborhood in Havana saw the birth of one of the most solid figures in Cuban syncopation: Raimundo Elpidio Vázquez Lauzurica. Known worldwide as “Elpidio Vázquez,” his destiny was written between the strings of a double bass and the mystique of Cuba’s most iconic musical group.

As the son of the legendary Pablo Vázquez Gobín (“Bubú”) and the older brother of master pianist Javier Vázquez, Elpidio did not just inherit an instrument he inherited a historical responsibility.

His formal connection with Sonora Matancera began in 1952, when he started subbing for his father. It didn’t take long for his talent to secure him the permanent spot, becoming the rhythmic backbone of the institution until the end of his career.

Legacy and Musical Contributions: Beyond the Double Bass

Elpidio Vázquez was not just a performer; he was a sonic architect. His ability to maintain a precise tumbao allowed Sonora Matancera to preserve that unmistakable harmonic signature that captivated the entire continent.

In addition to his technical prowess, Elpidio shined as a composer, contributing tracks that became essential hits:

“Le dio con la sartén”: A guaracha recorded by the “Flaco de Oro” (The Golden Thin Man), Celio González, in late 1959.
“La negrita inteligente”: A gem performed by the Queen herself, Celia Cruz, in 1961.

His versatility led him to explore other musical horizons. He participated in the vibrant Cuban descarga (jam) sessions alongside Osvaldo “Chihuahua” Martínez and collaborated on historic recordings with giants of salsa and bolero, such as Ismael Rivera, Daniel Santos, Johnny Pacheco, Justo Betancourt, and Roberto Torres.

The Double Bass: Unlike many bassists of the salsa era who quickly transitioned to the Baby Bass or the electric bass, Elpidio is remembered for his mastery of the acoustic double bass, maintaining that organic, deep sonority of traditional, evolved Cuban son.

Recognition and Saying Goodbye to the Stage

One of the most memorable chapters of his career took place in 1989, during the 65th-anniversary celebration of Sonora Matancera. Organized by Gilda Mirós, Elpidio rocked world-renowned stages like Carnegie Hall and New York’s Central Park, reaffirming the band’s timeless relevance.

Career with Sonora Matancera

The Historic Handover: In 1952, Elpidio took on the responsibility of replacing his father on the double bass for Sonora Matancera. This was no small task, as he had to maintain the characteristic tumbao that had defined the group’s sound for decades.
Sonic Signature: He is credited with imprinting a robust harmonic stamp and a rhythmic stability that allowed Sonora to back the biggest stars of the era (Celia Cruz, Nelson Pinedo, Bienvenido Granda, etc.) with flawless precision.
Exile and Continuity: Like the rest of the group, he left Cuba in 1960, continuing his career abroad and participating in Sonora’s prolific New York era and their international tours.

A historical footnote: After the death of Rogelio Martínez, it is said that Elpidio was designated as the group’s musical director by public deed. However, in a gesture of humility and after decades of dedication, he preferred to retire in New Jersey, letting his brother Javier take the helm for the orchestra’s new era.

Today, the figure of Elpidio Vázquez remains a symbol of artistic fidelity and musical excellence the bridge between the tradition of “Bubú” and the modernity of New York salsa.

Also Read: La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”

José Mangual Sr. “Buyú”: The Architect of Bongo Sound Defining the Rules of How it Should Sound

In the history of Afro-Latin music, there are names that didn’t just play an instrument they defined the rules of how it should sound. José Mangual Sr., known universally as “Buyú,” is one of those pillars.

José Mangual Sr., known universally as Buyú, is one of those pillars

An extraordinary and legendary percussionist, José Mangual Sr. was the founder of the prestigious percussive lineage that carries his surname.

Since his childhood in Juana Díaz, he professed a deep love for music; by age ten, he was already playing professionally, and during his youth, he even enjoyed crafting his own bongos.

Over time, he became the musician who endowed the instrument with an extraordinary sonority. He was the father of the equally prominent percussionists José Mangual Jr. and Luis Mangual.

The Architect of Sound on the Bongos defining the rules of how it should sound

Considered by experts as one of the greatest bongo players of all time, his legacy remains the gold standard for meter and tuning in Latin Jazz and Salsa.

From Juana Díaz to the Heart of Spanish Harlem

Born on March 18, 1924, in Juana Díaz, Puerto Rico, Mangual discovered his vocation at age 10. However, his musical destiny was sealed in 1938 when he migrated to New York at the age of 14.

Settling in Spanish Harlem (“El Barrio”), he found himself at the epicenter of a cultural explosion that was about to change world music forever.

The Consecration: Machito and his Afro-Cubans

Although he began by filling the timbales position, it was with the Machito and his Afro-Cubans orchestra where “Buyú” made history. Under the direction of Mario Bauzá (who is said to have given him his nickname), Mangual remained with the group for nearly 17 years.

The Legacy and the Patriarch of a Dynasty

Rhythmic Innovation: He was part of the “perfect percussion trio” alongside Carlos Vidal (congas) and Machito (maracas).
Historic Fusion: His performance was key to blending the complexity of Afro-Cuban rhythms with the harmonies of New York Jazz in the 1940s and 50s.

An Unrivaled Session Musician

His technique was so clean and his sound so bright that he became the preferred collaborator for the biggest stars. Throughout his career, he contributed his mastery to projects led by:

Tito Puente: The “King of the Timbales.”
Israel López “Cachao”: Participating in historic Afro-Cuban Jazz “descargas” (jam sessions).
Jazz Greats: His versatility allowed him to navigate fluidly between the world of Big Bands and traditional Salsa ensembles.

Pedagogical Legacy and Solo Career

In the 70s and 80s, Mangual recorded music not only for enjoyment but also for instruction:

Album “Buyú” (1977): A Latin Jazz gem on the Turnstyle label, featuring tracks like “Black & Brown Boogie.”
Musical Education: Alongside conguero Carlos “Patato” Valdés, he recorded the volumes of Understanding Latin Rhythms. These LPs became the auditory manual for thousands of percussionists around the globe.
The Mangual Dynasty: In 1986, he consolidated his family heritage with the album Los Mangual: Una Dinastía, recording alongside his talented sons.

“The sound of his cowbell and his bongo didn’t just mark time; they cemented the foundations of the music we dance to today.”

The Patriarch of a Dynasty

The impact of José Mangual Sr. extends through his sons, who inherited his musical excellence:

José Mangual Jr. (“El Milamores”): Famous bongo player and singer, a key figure in the orchestras of Willie Colón and Héctor Lavoe.
Luis Mangual: Renowned percussionist and musical director.

Passing and Recognition: Buyú passed away in 1998, leaving an irreplaceable void. In 2001, he was posthumously inducted into the International Latin Music Hall of Fame a fitting tribute to the man who gave the bongo unprecedented brilliance and elegance.

Also Read: Israel “Cachao” López, a Cuban musician and composer, has been hailed as “the Inventor of Mambo”

Dominican bandleader and musical director Orlando Santana talks about La Makina and his career in general

Orlando Santana, the bandleader and musical director of La Makina, has made room in his busy schedule filled with studio recordings to talk about the most interesting topics of his career and, of course, the group that has given him more fame.

The Dominican artist has built an interesting career that led to his aforementioned group, which was founded in Borinquén (the name given to Puerto Rico before the arrival of the Spanish). Naturally, the genre by which La Makina is best known is merengue, implying that the Dominican Republic is still present in mind and heart.

Orlando with his saxophone — Orlando Santana with his saxophone

Orlando’s Beginnings in Music

Orlando started his story by saying that music had a significant presence in his life because his father, Santiago Santana, was a music teacher who taught in their own home. He taught all types of instruments such as the saxophone, trumpet, flute, piano, bandoneon, clarinet, guitar, and many more. Additionally, he also knew about harmony, solfège (sung), and solfège (spoken).

This led to his son learning to play instruments at a very young age and being interested in this way of life.

Orlando’s Music Education

When Orlando moved to Miami, he took private piano lessons for a while, just as his father did with his students, but it was from Richie Ray and Bobby Cruz whom he really learned. He attended their church and took advantage of his visits to receive some piano lessons from Richie, while his brother David Santana, who was already a veteran musician, bought him his first saxophone and taught him many other tricks of the trade.

Early experiences as a paid professional

As for the beginning of his professional practice, Orlando, as a 15-year-old boy, started with the orchestra Dioni Fernández y El Equipo, from which the great Sergio Vargas emerged. In fact, they entered together a television channel (Color Visión, Channel 9) on the same day in Santo Domingo. This group is still active today, and Sergio Vargas’s own brother, Caqui Vargas, is currently part of it.

Bobby and Orlando — Bobby Valentín and Orlando Santana

Some time later, he had the opportunity to perform along with Wilfrido Vargas, which he describes as an incredible experience, since Vargas’s orchestra had a very challenging repertoire and he had to prepare himself very well in order to play along with the merengue exponents and his musicians. Orlando came on as a substitute replacing his brother on some tours, where he showed he had the capacity to keep up with their pace and improvise just like Wilfrido did so with ease on stage.

Among the most important things this time taught him, the artist mentioned discipline, the importance of always practicing his instruments, and a permanent focus on what he wanted to achieve. Another thing he mentioned was the significant improvement in his ability to improvise and release new material constantly.

He also learned a lot from Toño Rosario, Peter Cruz, Cuco Valoy, Ramón Orlando, and Elías Santana (Orlando’s first cousin and trumpeter for Conjunto Quisqueya). With all of them, he also came to play both merengue and other genres.

How La Makina Band was founded

Orlando met Fernando Colón in Toño Rosario’s orchestra, while he was a saxophonist, and Fernando entered as a bassist. At the same time, Orlando was writing some arrangements for Los Sabrosos del Merengue, and as it so happens that Fernando was also working with them, so they were always in constant contact.

When Orlando decided to found an orchestra, it was he who called him and accepted his proposal. That was when both artists founded La Makina in 1996, though the process started a year earlier when they set up a company for that purpose.

Orlando and Rafael — Orlano Santana and Rafael Ithier from El Gran Combo de Puerto Rico

His Role as producer and director

Regarding his role as producer and director of La Makina, he points out the importance of preparing and studying to exercise these areas of music. In his case, he had already spent many years working on important record productions, including those he did together with his cousin Cesar Cuesta, with whom he formed a small orchestra that covered songs by very famous bands. He created his own musical arrangements for these new versions to differentiate them from the original songs and wrote scores for other musicians.

In addition, he served as music producer for Grupomanía and wrote songs for artists such as Toño Rosario, Elvis Crespo, Oscarito, Manny Manuel, and many others.

Current Members of La Makina

Of the original members of La Makina, the only one left is Orlando himself, but he has been joined by other equally-talented musicians, including Carlitos Rivera and his own son, Anderson Santana.

Orlando and Johnny — Orlando Santana and Johnny Ventura in San Juan, Puerto Rico

Current projects

This conversation had been delayed a few times due to how busy Orlando was in the studio working on new music, so obviously we had to ask what it was all about.

He told us that he and the rest of the group were working on a remastering of La Makina’s greatest hits, but with other arrangements and a fresh color. They also plan to include songs recorded by other artists but written by Orlando for them. He did not want to say what these would be so they would be a surprise for the audience.

Uruguayan composer and multiinstrumentalist Sebastián Natal and his band Grupo Sensación

After having contact for days and overcoming some pitfalls, we could finally get to talking with producer, composer, and multi-instrumentalist Sebastián Natal, who kindly attended and revealed his views on the path he has followed to become the great artist he is today.

Sebastián Natal posing for the camera with his instruments

Sebastián Natal’s beginnings

First, Sebastián appreciated our interest in learning a little more about him and began to describe his native country’s musical and cultural context at the time. First of all, the artist was born in Montevideo, Uruguay, where a tropical music movement was established by then, considering many genres from the tropics and the Caribbean, such as salsa, bachata, merengue, cumbia, guaguancó, and many more.

Obviously, these genres did not originate in Uruguay, as bomba is Puerto Rican, salsa is Cuban, and bachata is Dominican. However, there were quite a few groups and musicians who used these tropical roots to create their own identity. Outside of Montevideo, other provinces listened much more to cumbia and charanga.

The orchestras that played these rhythms were dedicated to developing covers of salsa songs, but by bringing them into other genres that were emerging at the time, such as plena, plena danza, and bomba, among others. Sebastián grew up with this sonority in his country, so the whole musical environment he was exposed to abroad became very familiar to him and easy to assimilate. From the early ‘nineties, as a young boy, he began to absorb all the influence from the dawn of romantic salsa and iconic songs such as “Aquel Viejo Motel,” “Cinco Rosas,” “Sin Sentimiento,” “Amores Como El Nuestro,” and many others of its kind.

It is worth adding that Sebastián comes from a family of musicians, starting with his own father, Yeneca Natal, who was the musical director and pianist for Grupo Sensación. Music always surrounded him, so it can be said that he was meant to follow this path.

Sebastián and Yeneca Natal — Sebastián Natal next to his father Yeneca Natal

When and why Sebastián left Uruguay and moved to New York

In 2005, at just 21 years old, Sebastián joined the Sonora Borinquen, which was the most popular orchestra at the time. Thanks to them, he had the opportunity to tour the United States and Canada, where he could see environments and ways of working that were completely different from what he was used to. Two years later, he toured the United States again, but by then he already saw the country as a new destination to advance his career.

Unfortunately, Uruguay was becoming too small for the plans he had for his development in salsa, which sparked his curiosity about the Big Apple and all it had to offer him musically speaking.

By 2008, he decided to move to New York for a few months, but so many doors opened for him that he never left and continues to live there to this very day.

Sebastián, the multi-instrumentalist

The first instrument Sebastián came in contact with was the piano, which he started playing it at age four and from which he graduated at age 11. Since he had not attended high school yet, he could not study a master’s degree to continue his musical education. In addition, he was a child who wanted to play football and do the usual things for his age, so a few years later, his father made him join an Afro-Uruguayan music group. In that orchestra Sebastián played piano and bass, which allowed him to further develop his skills with those instruments.

Sebastián in Panama — Sebastián Natal in Panama City

After that, he began to create his own tropical music band, inspired by the Venezuelan orchestra Los Adolescentes. All the members were minors, and, as well as in the previous group, Sebastián also played piano and bass.

Sebastián as a producer and composer

Regarding his role as a producer and composer, Sebastián confessed that he has no idea how he came to learn these areas of music. He did emphasize that he always lets his music and his feelings flow to deliver the message he wants to convey in each of his pieces. After that, he defines the ideas and adds the music.

He says he greatly admires professional lyricists and composers. He admits he is neither the best nor the worst composer, but he always tries to reach his own heart to convey what he feels.

Sebastián Natal Y Grupo Sensación

The idea of Grupo Sensación started with the orchestra of the same name where his father worked in 1982, but unfortunately the group did not have much impact due to how closed that environment was at the time. There were a number of orchestras that got the best contracts, and it was very difficult for the rest to achieve. Over time, Yeneca left Grupo Sensación and managed to join several of these more established orchestras to gain more reputation.

Soon after, when Sebastián moved to the United States, he almost immediately noted that the Uruguayan community needed a tropical orchestra, but he did not know what name give it. With the passing of his father on October 19, 2010, he chose to use the name “Grupo Sensación” as a way to continue the legacy of his father and the tropical movement born in his country so many years ago.

Sebastián and Pedrito — Pedrito Martínez and Sebastián Natal on stage

Artists he has collaborated with

Sebastián has had the opportunity to collaborate with artists of the stature of Nino Cegarra, Oscar D’León, José Alberto “El Canario,” Domingo Quiñones, Tony Vega, Roberto Blades, Cheo Feliciano, Tito Nieves, Viti Ruiz, and many more. However, few were the ones with whom he has truly been able to have a conversation or a close connection beyond purely profesional relationships.

“You can only say you played with someone if you’ve had a connection with that person. I’ve been able to play with great artists, but many times they don’t even know who I am. That’s why I don’t include them on my resume. Now if they call you back, then you can say you did things very well and that there’s someone really interested in you,” said Sebastián on this interesting subject.

The cases of Bill Murray and Camila Cabello were completely different, as he managed to record songs with them through his friend and fellow musician, Pedrito Martínez, whom he describes as “the best percussionist in the world”. It was also Martínez who connected him with the world-famous composer and guitarist Eric Clapton, with whom he performed at the American Airlines Center in Dallas—one of the most beautiful experiences he has had in his career and his life in general.