Orchestra

“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

Bandleader and bongosero Ray Degaldo is here to talk about his life and career

The talented percussionist Ray Delgado has made room in his schedule to share some time with us and talk about some of the most curious details of his artistic career, which fills us with pride and gratitude in equal measure. The founder of the Ray Delgado Project has many interesting things to say, and we are more than willing to listen.

Ray playing the bongo — Ray Delgado playing the bongo live

Ray’s inspirations to become an artist

Ray grew up in a family with deep Puerto Rican roots and was raised between Puerto Rico and New York because his parents constantly moved from one place to another, which made him feel very fortunate because he was being formed between two cultures that allowed him to listen to all kinds of music. In his time, radio remained extremely popular, so this was his vehicle to travel just by listening to certain songs.

Music in English came from the United States and Europe, while music in Spanish came from Cuba, Venezuela, Puerto Rico, the Dominican Republic, Jamaica, and many other countries. Delgado was exposed to all genres, but as a New Yorker, the one that resonated the most with him was salsa and the atmosphere that it brings with it. In fact, he remembers having the joy of seeing the Machito Orchestra, Johnny Pacheco, Héctor Lavoe, Willie Colón, Pete Conde, and many others live.

These great exponents were the ones who sparked off the young man’s desire to pursue music at some point, but his father did not like the idea at all, as he saw the men in this business as womanizers, drunks, and irresponsible. Obviously, no father wants his son to end up like that, so Ray had to wait to become a responsible adult with a steady job to finally realize his aspirations as a kid.

Ray and his father — Ramón Delgado Castro holding his son Ray Delgado and his brother when they were babies

It all started when some older men invited him to play with them, so he found an old bongo drum he kept in his closet and accepted the offer without a second thought.

That was the point of departure for him to play with many other bands in New York, and his consistent work led him to want to be better, to study hard and prepare himself much more.

Ray’s music education

Ray studied at the East Harlem Music School founded by legendary musician Johnny Colón in Manhattan, and focused on timbales with teacher Ray Cruz, but he left the instrument aside for a while when he moved back to Puerto Rico. When returning from the Island of Enchantment, he enrolled at the Harbor Conservatory for the Performing Arts. He also studied with Professor George Delgado, who is the current conguero for the Spanish Harlem Orchestra. He describes him as an excellent teacher and musician from whom he learned so much.

Additionally, he had the support of many musician friends who also helped him and taught him many things that are not learned in an educational institution, including Luis Rivera, Radamés Rojas, Eric Rivera, and many others. Close contact with other artists and groups made him see that many sounded exactly the same and there was little variety, so he decided to form his own orchestra.

In this way, he also learned percussion, which is the area by which he is best known today.

Joe and Ray — Joe Bataan and Ray Delgado

Ray Delgado Project’s birth

Driven by the lack of musical variety in his environment, he wanted to create his own musical project that included vibraphone, percussion, piano, bass, and vocalist. It all started with a workshop for musicians offered by Ray himself in a community room in the building where he lived and he was allowed to use it. After having played and experimented with different styles, the group was getting smaller until all the musicians who signed up ended up leaving.

From there, at every show and opportunity he had to meet new musicians, he would ask for their numbers to recruit them and achieve a chemistry and combination, resulting in the sound he wanted. Ray was in that process from 2009 until now. About three years ago, in 2023, he finally got what he was looking for.

This group was called Ray Delgado Project, which takes up a huge amount of time and effort. However, the musician says that the New York where his youth was spent, which offered lots of places to go dancing, no longer exists, so there is not much work as back then.

Today, they play many covers of great hits from the 1970s, but they add their own touch to stand out with completely new arrangements. Not so long ago, they released their new version of “Lo Que Traigo es Sabroso,” a hit by Eddie Palmieri, and adapted it to their own style and arrangements. It can be found on Spotify and the main digital platforms.

Ray and his orchestra — Ray Fuentes (piano), Abraham Saenz (bass), Danny Sieber (vibraphone), Ray Delgado (director and bongo), Rhadames ”Randy” Rojas (lead vocals) Izzy Diaz (congas), and José ”Cheo” Colón (timbales)

Ray is so happy with what he has achieved so far with their orchestra that ensures that when God calls him, he will be calm and happy to have been able to play and make audiences dance during his lifetime. God willing, we wish him many more years playing with the Ray Delgado Project, enjoying life and bringing joy to those who have the pleasure of listening to him.

Willie Colón The “Architect of Salsa” Enters Immortality

February 21, 2026, will be etched into the history of Latin music as the day the “street trombone” fell silent to become an eternal echo.

A Sorrowful Farewell: February 2026

After several days of uncertainty and reports regarding his delicate health, the passing of William Anthony Colón Román was confirmed in New York City at the age of 75.

Willie Colón, the Architect of Salsa, Passes into Immortality

Producer, trombonist, visionary. He was the architect of a sound that broke the mold and redefined salsa from New York for the entire world.

With his aggressive trombone, his innovative musical concepts, and his leadership within the historic Fania All-Stars, he marked an era that can never be repeated.

The musician, who had already shown signs of physical frailty following his retirement from the stage in 2023, suffered severe respiratory complications that kept him hospitalized during his final days.

Iconic figures like Rubén Blades and the entire Fania family have expressed their grief, noting that we haven’t just lost a musician, but the “Malo” (The Bad Boy) who revolutionized the visual and sonic identity of Latinos in New York.

A Legacy of Rebellion and Sophistication

Unlike other bandleaders, Willie Colón didn’t just make music; he told cinematic stories. From his early days with Héctor Lavoe to his era of social consciousness with Rubén Blades, Colón transformed salsa into a vehicle for urban narrative.

With his aggressive trombone playing, innovative musical concept, and leadership within the historic Fania All-Stars

Innovation: He was responsible for putting the trombone at center stage, creating that “heavy,” raw sound that defined the Bronx.
Identity: Through his iconic album covers (emulating FBI “Wanted” posters), he constructed the mystique of the Latin anti-hero.

His Eternal Anthems

Willie Colón’s catalog is the backbone of every party and social reflection in Latin America. Among his most remembered tracks, more relevant today than ever, are:

Song	Significance
El Gran Varón	A milestone in social lyrics regarding identity and redemption.
Idilio	The most romantic and melodic facet of his mature era.
Pedro Navaja	The ultimate expression of narrative salsa produced alongside Blades.
Gitana	A classic of sentiment and rhythmic fusion.

Beyond the Trombone: Activism and Service

In his later years, Willie Colón’s life was also defined by his work offstage. He served as an activist, a community leader in New York, and held positions in organizations advocating for Hispanic rights. His life was a testament to the fact that art and social commitment can walk hand-in-hand.

Producer, trombonist, visionary. Architect of a sound that broke molds and redefined salsa from New York to the world.

The Centennial on the Horizon

Though the Maestro has physically departed in 2026, his office and family have made it clear that his music will live on. Releases of unedited material and tribute concerts are expected as we pave the road toward the centennial of his birth in 2050.

“Time passes, and I am left unable to speak to you” Willie Colón.

His music will continue to speak for him on every corner where a trombone sounds and in every heart that feels the pulse of urban salsa.

His talent was more than rhythm: it was identity, the barrio, resistance, and living history. Today, we don’t just say goodbye to a musician; we say goodbye to a pillar, a North Star, and an entire chapter of our Latin culture.

Anecdote:

Willie Colón had a notorious incident in Medellín in 1985 when he refused to perform at the Iván de Bedout Coliseum because the promoters of “Rumba Producciones” failed to pay the agreed amount. Police arrested him along with 13 of his musicians, and they were detained for two days at the Belén neighborhood police station.

The audience, who had waited for hours, grew unruly, leading to riots that resulted in six injuries and significant property damage. This episode inspired the song “Especial No. 5,” which narrates Colón’s experience inside cell number five of that station.

Willie Colón had an incident in Medellín in 1985

Special Contribution by Julio Cesar Galindo Alarcón (Lima, Peru)

A posthumous tribute to the great Willie Colón (1950-2026): The greatest disciple of Mon Rivera by his own admission and today a legend of our passionate salsa.

Willie Colón: From “Classic Urban Salsa” to “Symphonic Salsa”

His musical production clarifies and proves that “salsa” does not only originate from Cuban and Puerto Rican rhythms, but also from American, Brazilian, and other Latin influences.

When Willie produced and recorded his 1977 instrumental-only album, El Baquiné de Angelitos Negros, he expanded the orchestral lineup to include violins, saxophone, flute, cello, and trumpet. While the work had little commercial success and went largely unnoticed during his triumphant career, it served as more than just a platform for his “salsa” fusions with Jazz, Funk, Soul, and R&B. It was the starting point for producing grander orchestral arrangements with a larger number of musicians, thus becoming the precursor to what is now known as “Symphonic Salsa.”

Four years after this beginning, in 1981, this “Symphonic Salsa” reached its peak when Willie released his second solo album, Fantasmas dedicated to and motivated by the loss of his younger sister, Cindy. The album included a track he composed, with musical arrangements by Luis Cruz, titled “Toma Mis Manos” (Take My Hands).

This piece, dealing with the somber theme of death, is considered by this author (due to the quality of the composition and the fabulous “Symphonic” orchestration) to be an authentic and grand masterpiece of “Classic Salsa.” It blends Funk, Soul, R&B, and Bossa Nova with Willie’s excellent vocals, serving as a spectacular prelude to that other legendary, yet often overlooked, symphonic track recorded in 1991 by the “Canary of Carolina,” the great Lalo Rodríguez: “El niño, el hombre, el soñador y el loco.”

To conclude, with the immense pain that his departure brings, I accompany this tribute with the aforementioned song: “Toma Mis Manos,” an unforgettable composition by the recent legend of our “salsa” the great Willie Colón, famously known as “The Bad Boy of the Bronx.”

The legendary musician and his wife Julia Colón were married for decades and share three children ( — The legendary musician and his wife Julia Colón were married for decades and share three children

Also Read: The legacy of Leopoldo Pineda, the ambassador of the trombone in La Maquinaria Fania All Stars

Porfi Jiménez The Master of Rhythm Who United Two Nations

The life, work, and legacy of tropical music’s most “Venezuelan” Dominican.

Porfirio Antonio Jiménez Núñez, known universally as Porfi Jiménez, was more than just a musician; he was a cultural bridge.

A Dominican virtuoso by birth and Venezuelan by choice, he became one of the most iconic figures of Caribbean dance music.

His legacy endures as an exceptional trumpeter, arranger, and bandleader who possessed a unique gift for reading the pulse of the streets and elevating it to the level of fine art.

Porfi Jiménez El Maestro del Ritmo que Unió a dos Naciones

The Prodigy of Hato Mayor: Academic Training

Born on February 16, 1928, in Hato Mayor del Rey, Dominican Republic, Porfi’s destiny was sealed by music from an early age. A recognized child prodigy, he began his formal studies at age seven.

Following the death of his father, his mother gifted him his first trumpet when he was eight a tool that would eventually become his eternal voice.

Unlike many bandleaders of his era, Porfi sought technical excellence at the prestigious Berklee College of Music in Boston. This education granted him a superior technical command of jazz orchestration and tropical rhythms, allowing him to inject a unique harmonic sophistication into popular music.

Vida, obra y legado del dominicano más venezolano de la música tropical.

Putting Down Roots in Venezuela: A 50-Year “Layover”

On February 6, 1954, Porfi landed in Caracas at the invitation of his compatriot Rafael “Tata” Minaya for a brief Carnival tour.

What was planned as a temporary trip turned into a stay that lasted over half a century. Before founding his own sonic empire, he honed his craft within the country’s most elite musical institutions:

The Pedro J. Belisario Orchestra.
Billo’s Caracas Boys, under the baton of Maestro Billo Frómeta.
Staff orchestras for Venevisión and RCTV, where he shone as the lead arranger during the golden age of Venezuelan television.

The Birth of a Signature Sound

On December 31, 1963, as the world celebrated New Year’s Eve, a legend was born: Porfi debuted his own orchestra at the Tamanaco Hotel’s Naiguatá Hall.

31 de diciembre de 1963, en el Salón Naiguatá del Hotel Tamanaco Foto By El Universal

His style broke the mold by fusing Dominican merengue with salsa and jazz, achieving a modern, high-energy orchestration.

That same year, he released his first LP, A bailar con Porfi (Velvet Records). Featuring the vocals of Kiko Mendive and Chico Salas, the orchestra produced hits that are now staples of the Latin party songbook:

“La Negra Celina”
“La Resbalosa”
“La Banda está Borracha”

The “King of Carnival” and the Golden Years

Throughout the 80s and 90s, his name was synonymous with sold-out venues. Dubbed the “King of Carnival,” no festival in Venezuela was complete without his music. His ability to create “people’s anthems” is undeniable, leaving behind timeless tracks such as:

Iconic Songs	Cultural Impact
La hierba se movía	A massive sales and dance phenomenon across the region.
Culucucú	An undisputed hit during the December holiday season.
Se hunde el barco	A quintessential classic in the repertoire of great orchestras.
Dolores / Chivo Florete	A masterclass in high-energy, danceable merengue.

Culucucú Éxito indiscutible en las festividades decembrinas.

An Immortal Legacy

Maestro Porfi Jiménez passed away in Caracas on June 8, 2010, at the age of 82.

Though Dominican by birth, he always declared himself “Venezuelan at heart,” leaving behind a devoted family and a generation of musicians trained under his disciplined leadership.

As we approach the centenary of his birth in 2028, his influence remains more vibrant than ever.

The tributes held between 2024 and 2026 in both the Dominican Republic and Venezuela only confirm that Porfi Jiménez was, is, and will always be the man who defined the rhythm of the Caribbean identity.

Also Read: Federico Betancourt “Pioneer of Salsa in Venezuela”

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