North America

Houston Salsa Congress 2017

North America /  USA / Texas

In 2000, Houston Salsa Dancers, Inc. hosted the first Congress of its kind in the City of Houston. Today, the Houston Salsa Congress continues to highlight the beauty, creativity, and culture of Latin dance and music with our featured performing artists and musical artists.

HOUSTON SALSA CONGRESS 2017

Houston Salsa Dancers, Inc. is officially recognized as a nonprofit corporation who hosts the LARGEST Salsa Socials in Houston every month raising funds for the annual HSD, Inc. Scholarship Program. Through this program, HSD has helped dozens of students from the Houston area by awarding a cumulative total of over $25,000 in scholarships.

Scholarships are awarded annually at the LARGEST Salsa event in the South, the Houston Salsa Congress, every Martin Luther King, Jr weekend.

The Houston Salsa Congress has become a must-attend event for many dancers and performers. Being the first non-profit Congress, the HSD Board Members are always innovating and changing how Congresses are managed setting the bar high for other events to follow the remainder of the year. The Congress consist of performances by only the best in Salsa and other dances, weekend workshops to help dancers improve their skills, and some of the best social dancing in the world!

Another way HSD is stepping above the rest is through its event called “Bailando Hacia La Universidad (“Dancing Your Way to College”)” which was designed to educate High School students on attending college and college admission. (We bring in guests speakers and end it with a special performance… Example agenda: http://www.houstonsalsacongress.com/schedule_collegeday.php).

Houston Salsa Dancers, Inc. also hosts the “SalsaDURA Saturday” social every 1st Saturday every month. SalsaDURA is also called the mini-Congress of the South attracting dancers and performers from all around the world. This monthly event helps fund the Scholarship fund along with the Houston Salsa Congress event.

BANDS

JOSÉ ALBERTO “EL CANARIO”

José Alberto Justiniano (born December 22, 1958 in Villa Consuelo district, Santo Domingo, Dominican Republic), better known by his stage name José Alberto “El Canario” is a Dominican salsa singer. José Alberto moved to Puerto Rico with his family at the age of 7, and inspired by Latin music went on to polish his singing at Las Antillas Military Academy. He relocated to New York in the early 1970s and sang with several orchestras. He received international attention as the bandleader of Tipica 73 in October 1977.

José Alberto started his own band in 1983, and became a major Latin star after the release of his 1984 debut Noches Calientes. His 1991 album Dance With Me, which established a new style of salsa called salsa romántica. He has sung hit songs such as “Sueño Contigo” His voice was widely adored by his fans, and his exceptional whistling abilities (being able to improvise as if he was playing a traverse flute) led them to give him the nickname El Canario (The Canary).

JOSÉ ALBERTO "EL CANARIO" — JOSÉ ALBERTO “EL CANARIO”

El Canario has enjoyed success in the United States and Europe, but especially throughout Latin America, including in his native Dominican Republic, Puerto Rico, Peru, Venezuela, Panama, and Ecuador. El Canario in 1999 also was part of the biggest Latin American festival in Australian history at The Bacardi Darling Harbor Latin American Festival in Sydney, as supporting act for salsa performer Celia Cruz with over 22,000 people in attendance.

On 24 May 2008, José Alberto celebrated 30 years in the music industry at the United Palace Theater in New York City. Among the several special guests were Oscar D’León, Ismael Miranda, Raulín Rosendo, Joe Arroyo, and Latin music mogul Ralph Mercado.

Bobby Valentín & His Orchestra

Valentín (birth name: Roberto Valentin) was born in June 9, 194, in Orocovis, Puerto Rico. He was taught by his father to play the guitar at a young age. When his mother died in 1947, he went to live with his older sister and was raised in the town of Coamo where he received his primary education and studied music. When he was 11 years old, he participated in a local talent contest with a trio that he had formed.

He played the guitar and sang for the trio and they won the first place prize. One of his teachers suggested that he attend the Jose I. Quinton Academy of Music, which he did. It was there that he learned to play the trumpet.

In 1956, Valentín moved with his family to New York City where he attended George Washington High School and continued to take music lessons. In 1958, he went to play for Joe Quijano but, shortly after, he played in the band of Willie Rosario, who was from the same neighborhood.

MUSICAL CAREER

In 1963, Valentín joined Tito Rodriguez (after not being hired by Tito in a recording session because of his age, he was given a chance and was added to his regular band) and traveled twice with Tito’s orchestra to Venezuela. He also made musical arrangements for Tito and at times for Charlie Palmieri, Joe Quijano, Willie Rosario, and Ray Barretto. In 1965, he formed his own band and was signed by the Fania Record Label. He recorded “El Mensajero” (The Messenger) and “Young Man With a Horn”. He held his first concert in Puerto Rico during that period of time.

In 1975, Valentín left Fania and founded his own record label “Bronco Records” and released the recordings of “Va a la Carcel” Vol 1 and Vol 2, recorded “live” at “El Oso Blanco”, Puerto Rico’s oldest state penitentiary. At the time, Marvin Santiago was the singer on Valentín’s band; his biggest hit with Valentín was “Soy Boricua”, an ode to Puerto Rican nationality that has since become a patriotic song for the pro-independence faction of the island.

In 1978, salsa singer Cano Estremera made his singing debut with Valentín’s orchestra and recorded various major hits for the band, particularly the Roberto Angleró song “La boda de ella” and “Manuel García”. During the years Valentín has been featured in recordings (and occasional live appearances) by Larry Harlow, Ismael Miranda, Roberto Roena, Cheo Feliciano and Celia Cruz. He also provided backdrop for the Billyván Santiago (Marvin’s youngest brother) song “Mata la cucaracha”, a sleeper hit in Puerto Rico during the 2002 Christmas season.

Houston Salsa Congress 2017. TICKETS

Full Event Pass: $280.00 (USD)

Full Event Pass + VIP Upgrade: $310.00 (USD)

Night Pass (ALL NIGHTS): $110.00 (USD)

Night Pass + VIP Upgrade (ALL NIGHTS): $165.00 (USD)

Night Pass (THURSDAY ONLY): $35.00 (USD)

Night Pass (FRIDAY ONLY): $35.00 (USD)

Night Pass (SATURDAY ONLY): $35.00 (USD)

Night Pass (SUNDAY ONLY): $35.00 (USD)

www.houstonsalsacongress.com

Nano Cabrera Presents “Échate Pa’ Cá

North America / Puerto Rico

Renowned Puerto Rican singer-songwriter Nano Cabrera presents his theme for this holiday season titled “Échate Pa ‘Acá”. This song has mergers with urban music. It was written by Marinés Colón and can be downloaded for free via the Nano channel on the Sound Cloud digital platform.

“I present this song with a lot of humility and I hope you enjoy it, we did it with the purpose of downloading it and enjoy it at your parties.” Christmas is the best time of the year! It’s when forget the problems because the Christmas represents parrandas, joy and sharing in family, “said Nano.

The contagious joy to which we are accustomed, is demonstrated in the musical arrangement of the song “Échate Pa ‘Acá” that was created by the own Nano and counted on the co-production of Durand tla Elite.

Nano Cabrera - Echate Pa aca — Nano Cabrera – Echate Pa aca

Cabrera, responsible for successes such as: “Que le den, que le den” and “Este Pueblo tiene sabor”, is a graduate of the Conservatory of Music of Puerto Rico and dominates the execution of guitar, bass, piano, cuatro and percussion. In addition, it has participated in 65 record productions.

“The Christmas theme can be downloaded for free through the Sound Cloud digital platform”

Nano Cabrera

Date of Birth: March 1, 1952

Place of Birth: Puerto Rico

Nano Cabrera Biography

Nano Cabrera was born in the context of a musical family. In his childhood years he began to manifest his talent with the guitar and already in his adolescence he founded his first Latin rock group, “Dios, Madre y Patria”. In that stage of rocker that occurred in the years when the movement of the new wave reigned, Nano composed, arranged and played bass. Already in the late 60’s the young musician coincided with the arrival of the duo Nelly and Tony, with whom he worked for several years as arranger, bassist, composer and vocalist.

Graduated from the Conservatory of Music in the 70’s Nano was a founding member of the new group, Haciendo Punto en Otro Son. With this group, distinguished as one of the pillars of the new Puerto Rican trova, Nano remained for two years, thus polishing his knowledge as arranger and composer. In addition to playing the bass, Nano added to the group a singular falsetto that became the characteristic sound of Haciendo Punto.

Nano Cabrera - Nuevo Viejo — Nano Cabrera – Nuevo Viejo

After his work with the group, Cabrera began a career as a soloist popularizing the theme “Que le den, que le den” with which he won an exclusive contract with

Wapa Televisión (today Televicentro). At this stage comes his famous “Este pueblo tiene sabor” that brought so much popularity by becoming the jingle of a well-known soft drink.

In his career, Nano has recorded more than a dozen albums as a soloist, in which he has popularized songs such as “María Isabel” and “Ramito de azucenas”.

Part of his artistic career includes performances in the Dominican Republic, Colombia, the United States and Spain.

Since always his shows have been characterized by creating a fresh, original and full of positive energy. Today, along with twelve other musicians and some dancers, Nano Cabrera has managed to create a fusion of sounds and visual elements that allow spectators to make an imaginary journey through different musical genres.

Main Discography

A ella le gusta – 2000
Amiga de la luna – 1995
Con buena nota – 1997 (junto a Ismael Miranda)
Tropimusical – 1990
Caribe soy – 1986

Nano Cabrera - Exitos y algo mas — Nano Cabrera – Exitos y algo mas

Rey Ruíz visits the Salsa Museum and talks about his prolific career

The Salsa Museum is celebrating the tremendous and valuable support of Cuban singer-songwriter Reinerio Ruíz Santiago, known to the world as Rey Ruíz, whom I had the pleasure to interview along with El Rubio Boris on our show Salsamania.

The artist was not only in our facilities to tell us important details about his career and share some of his time with us, but he also granted us the honor of gifting us one of the suits he used to wear for several of his most important shows. We are very grateful for the distinction he has made with us, and now let us mention some of the most important topics we discussed with the salsa singer.

Rey posing for the camera — Cuban singer-songwriter Rey Ruiz posing for the camera

Rey’s life in Cuba

Rey sang since his childhood to the point that his parents said he sang songs without words and started imitating the sounds his father taught him. He began to study music in sixth grade in his native Cuba, but his interest went far beyond simple childlike curiosity, so his parents enrolled him at the music conservatory in Havana so that he could have a more formal training.

Soon after, he appeared on Cuban television and sang for the orchestras “La Riverside” and “Los Dadas” at the then Habana Hilton.

Rey’s beginnings in music

Among many interesting things, Rey told us that he left his country at the age of 24, turned 25 in Miami, and arrived in Puerto Rico at 26. Shortly after arriving in Miami, he took a salsa demo to a record label, since Puerto Rican salsa was experiencing a long boom at the time, so they advised him to choose that genre.

Then, he got down to work with his producer Toby Villarini, recently deceased, to create the album.

Following the success obtained, the record label asked him to move to Puerto Rico, where they got him an apartment for about six months so he could make a life there and focus on his music. He then began working with musical director Guillermo Calderón’s orchestra, until Rey felt confident enough to say that the orchestra was his about a year later.

In 1994, he released his second album ”Mi Media Mitad” and the cover includes a very young Rey on a mountain of salt posing for the camera in a beige outfit and with a big smile on his face. The arrangements were made by Ernesto Sánchez, who also passed away recently at a very young age.

What Ray Ruiz is doing now

When El Rubio and I wanted to know what Rey is doing now, the singer confessed that he had chosen a career in which work never ends and that always makes him seek progress. “You’re always looking for ways to produce something new and show people what you’re doing at the recording and show production level.” In fact, the day after the interview, on February 14, he had a concert to celebrate Valentine’s Day at the Lehman Center for the Performing Arts in New York City.

Johnny and Rey — Johnny Cruz and Rey Ruiz at the Salsa Museum

He told us that it was the first time he performed as a solo artist at this venue, something he wanted to do for many years and finally got it. Never before has he performed in New York without the company of another artist or orchestra, so he was very happy and excited about living that new experience in his career.

Opinions about the Salsa Museum

Rey Ruiz had to leave soon to make final arrangements for the next day’s show, but we could not let him go without asking for his honest opinion about the Salsa Museum. When we asked him, he told us that he loved the place and that seeing what the museum exhibits was like seeing history. The history of salsa and all the artists who have been part of that genre. He also said that being here was like going to school because, even he who has been in this business for so many years, he has learned a lot from what he has seen.

He concluded by saying goodbye and thanking us for the opportunity to share with us and be on our platform.

“Sonido Bestial Sinfónico” solidifies classical sound in salsa

The February 27, 2026, performance of Sonido Bestial Sinfónico, which reunited “The Kings of Salsa,” Richie Ray and Bobby Cruz, at Puerto Rico’s Coca-Cola Music Hall, served as a farewell for Bobby Cruz. With a sold-out crowd thanks to Alexandra Fuentes’ production and a promotional alliance with the radio station Salsoul the legendary salsa vocalist said goodbye to the stage, insisting that while death had come looking for him, it had taken Willie Colón instead.

During Sonido Bestial Sinfónico, the audience also celebrated the 81st birthday of virtuoso pianist Richie Ray (born February 15) and the 88th birthday of singer Bobby Cruz, who celebrated his birthday the day before the event. Midway through the performance, the duo took a moment to blow out the candles on a cake brought onto the CCMH stage.

The concert was conducted by maestro Cucco Peña, featuring the voice of Yanira Torres and the Philharmonic Orchestra of Puerto Rico. From the local salsa scene, standout musicians included timbalero maestro Edwin Clemente, Emanuel Navarro on congas, and Richie Carrasco on bongo and cowbell, alongside the essential bass swing provided by Edwin Morales, director of the Orquesta Mulenze. Richie Ray’s wife, Angie Maldonado, and Jerry Medina were featured on backing vocals.

This symphonic concert, which celebrates more than six decades of “The Kings of Salsa” in music, had been postponed from its original date of October 25, 2025.

The repertoire included major hits popularized by the duo that have become classics of tropical music. Following a symphonic medley opening, the setlist included “Sonido Bestial,” “Agúzate,” “Richie’s Jala Jala,” “La Lluvia,” “Míster Trumpetman,” “El Diferente,” “Mi Amigo Juan,” “Yo Sé Que Te Amo,” “La Zafra,” “Juan en la Ciudad,” “A Mi Manera,” and a reprise of “Sonido Bestial,” among others.

The performance on Friday, February 27, 2026 of the Symphonic Bestial Sound concert that reunited "The Kings of Salsa", Richie Ray and Bobby Cruz — The performance on Friday, February 27, 2026 of the Symphonic Bestial Sound concert that reunited “The Kings of Salsa”, Richie Ray and Bobby Cruz

The show’s pinnacle featured Cucco Peña singing “Idilio” alongside Norberto Vélez in a heartfelt tribute to the late Willie Colón. The conductor acknowledged that figures like Willie Colón have made it possible for Puerto Rico to hold an important place on the global stage, affirming that “music is the face of Puerto Rico to the world.”

Richie Ray interjected a segment in which he shared his testimony of conversion to Christianity, extending an invitation to anyone who wished to join the ministry he now leads as a pastor. During this segment, the song “Hombres de Valor” was performed.

Another significant moment occurred when Bobby Cruz sang “La Novia,” clarifying that he is “free, but not available.” In addition to the hits achieved during the duo’s monumental and historic musical career, Richie Ray led several classical music pieces adapted for salsa.

The Coca-Cola Music Hall in Puerto Rico served as Bobby Cruz's farewell concert. It was a sold-out show. — The Coca-Cola Music Hall in Puerto Rico served as Bobby Cruz’s farewell concert. It was a sold-out show.

The patriotic finale featured the performance of “Mi Bandera,” which served as a farewell from both Richie and Bobby to the island, as both artists reside within the Puerto Rican diaspora in the continental United States. Events of this magnitude are what give deep meaning to maestro Cucco Peña’s statement: “Music is the face of Puerto Rico to the world” within the universal musical scene.

Also Read: Don Perignon and La Puertorriqueña Release Classique et Savoureux

“El Caballero de la Salsa” Kicks Off “Íntimo” in Puerto Rico

With performances on February 14 and 15, 2026, at the Coliseo de Puerto Rico, Gilberto Santa Rosa started the year “at home” with two sold-out shows and the successful launch of his “Íntimo” tour. That is always the goal. On the island, the audience is as demanding as they are generous and the singer knows it. Following the concerts, “El Caballero” posted on social media: “Puerto Rico, thank you for giving us two nights full of love, dancing, and so much music at home! What a thrill it is to sing at home!”

On January 30 of this year, the album that shares the tour’s title was released. In Puerto Rico, two shows were scheduled for Valentine’s Day weekend. The first coincided with Valentine’s Saturday; the second was added for the following day due to how quickly the first round of tickets sold out.

At exactly 6:46 PM on Sunday, February 15, 2026, the stage of the Coliseo de Puerto Rico welcomed Gilberto Santa Rosa’s orchestra to begin the second concert, marking the salsa singer’s long-awaited reunion with the Puerto Rican public. According to a press release from Edumil Ruiz’s agency: “These performances are part of a series of special concerts celebrating the month of love (…) and represent the long-awaited reunion of ‘El Caballero de la Salsa’ with his Puerto Rican audience after two years since his last performance on the island.”

A Night of Rhythms and Ovations

The performance began with high energy and impact from the very first track. The opening bars were seasoned with the sounds of the Puerto Rican cuatro, played by Fabiola Muñoz. “Déjate querer” featured a timbal solo by Pete Perignon, while “Cartas sobre la mesa” highlighted Saviel Cartagena’s saxophone. These were followed by “Ahora o nunca,” “Tú,” “Amor para la historia,” “Quiéreme,” and “Almas gemelas,” which featured Juan Carlos Vega on an aerophone solo; followed by “Yo no te pido” and “Conciencia,” for which the audience gave the artist a thunderous standing ovation.

Between songs, Santa Rosa took a moment to address the crowd: “I was born, raised, and live here. And it moves me to know that here in Puerto Rico, I am still dearly loved.” He added that he is a fan of singing to the brokenhearted with “scorned” lyrics set to savory, danceable arrangements. Addressing the contradiction of that combination, he stated, “We Puerto Ricans are capable of crying and dancing at the same time,” capping the explanation with: “That’s just how passionate we are.”

152 With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in "his home" with two sold-out shows. — 152
With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in “his home” with two sold-out shows.

After his remarks, “Gilbertito” explained he would welcome a beloved artist to sing “Misterio,” an urban salsa track with lyrics “about a relationship where you don’t know if it’s coming or going, starting or ending.” Gerardo Rivas took the lead in his solo role, which required Pete Perignon to fill in on the congas while Pedro Marcano took over the timbales.

Tributes and Special Guests

Later, Gilberto Santa Rosa dedicated a segment of the concert to a legend Puerto Rico bid farewell to last December. He stated that Rafael Ithier was a musical genius whom he considered a mentor and a father in music, dedicating the iconic “Las hojas blancas” to him. Notably, the production featured a team of sign language interpreters who translated the entire concert in real time.

The repertoire also included “Vino tinto,” “Cosas nuevas” highlighting Pedro Marcano on the flugelhorn and “No me dejes solo,” which kicked off with a mozambique rhythm and rumba clave on the drums, courtesy of Gerardo Rivas and Tito Echevarría. The most anticipated moment arrived when Santa Rosa asked the crowd to join him in a chorus that allowed “El Caballero” to pay his respects to special guests. The “Choliseo” vibrated as the crowd chanted: “Mira quien llegó / Quién está ahí / Qué bueno que te vino a ver” (Look who arrived / Who is there / How good they came to see you). The tenacious sonero greeted the following guests in perfect rhyme and with his trademark elegance: Don Perignon, Luisito Ayala, Luis Vázquez, Juan José Hernández, Elwood Cruz, Marilin Pupo, Cucco Peña, Lissette Álvarez, Willie Chirino, his wife Alexandra Malagón (whom he called “The owner of my heart”), and Ismael Miranda, among others.

The evening continued with “No pensé enamorarme otra vez” and “Para vivir,” for which he was joined by Yeika Álvarez and “a representation of the Arturo Somohano Philharmonic Orchestra of Puerto Rico.”

Gerardo Rivas (Hijo de Jerry Rivas el reemplaso de Jimmie Morales), Gilberto Santa Rosa y Pete Pergnon

A Monument to Nostalgia

“Tengo una muñeca,” followed by a fusion that progressed from boogaloo to cha-cha-cha and finally to salsa with Gilberto showcasing his skill on the maracas led us into a monument of nostalgia. The memory of the conga player Santa Rosa had worked with since their days in Willie Rosario’s orchestra until his passing in 2021 was honored with “Impaciencia.” The song showcased the Jimmie Morales Signature Series drums by Remo Percussion©, which sponsored “El Rey del Seco” (The King of the Dry Hit) from 2005 to 2016.

During this segment, “El Caballero” displayed his own skills as a talented conguero while singing, accompanied by Gerardo Rivas (the orchestra’s conga player) and Pete Perignon (the timbalero) on either side. While the audience was spellbound by the sight of the three musicians at their drums, this writer wondered if Gilberto was reminiscing about the days when he used to imagine he was a singer, using an upside-down trash can as a drum in the group led by Don Perignon.

The “Army of One”

This intervention was followed by “La agarro bajando,” which preceded the introduction of the band members, “musically directed by the master of the trombone,” Georgie Torres. The lineup included:

Backing vocals: Yeika Alvarez and Gino Ramírez.
Puerto Rican Cuatro: Fabiola “The one who holds her own” Muñoz.
Trumpet: Rebecca Zambrana (with the orchestra for 29 years) and Pedro Marcano.
Trombone: Anthony Rosado (also a ballroom dance champion).
Saxophone/Flute: Francisco “Paquito” Cruz and Saviel Cartagena.
Piano: Luis Marín.
Congas: Gerardo Rivas.
Timbales: Pete Perignon Morales.
Bongos: Rafael “Tito” Echevarría.
Bass: The legend Johnny Torres.
Keyboard/Aerophone: Dr. Juan Carlos Vega.
Vocals: Michael Pérez.

Santa Rosa also praised the technical and audiovisual teams, producer Rafo Muñiz, and Edumil Ruiz, noting that “all these people make this work.”

After identifying his team who gave a masterclass in what the military calls an “Army of One” the hits “Conteo regresivo,” “Perdóname,” “Que alguien me diga,” and “Que manera de quererte” rang out. Gilberto Santa Rosa celebrated Valentine’s weekend by once again proving why he holds the loyalty and preference of his Puerto Rican fanbase.

From the start, the energy never wavered. The crowd sang and danced along with the artist, the musicians, and the dancers on stage. The vast repertoire serves as a reminder of the countless hits “El Caballero de la Salsa” has collected throughout his prolific career.

Also Read: Bandleader and conga player Tony Rosa tells us how he built his career