Orchestra

Patrice, Jason, and Rony Perry from Steel Vibrations Steel Band promotes the steel pan in Houston

Steel Vibrations Steel Band is one of those bands that make it clear why the Caribbean steel drum has become so internationalized to the point of becoming very popular in the United States in recent years, which is why we are pleased to have had the opportunity to speak with one of its members. We are referring to American manager and musician of Trinidadian and Tobagonian descent, Patrice Perry, who, along with her brothers Jason Perry and Rony Perry, has brought high honor to her family’s homeland.

These are Patrice, Rony, and Jason — These are Jason Perry, Patrice Perry, and Rony Perry

How Patrice Became Involved in Music

In addition to mentioning her brothers as bandmates, she also noted that the group was founded by her mother, who in turn came from the Tobago All Stars (a group originating from Dutchforth, Scarborough, Tobago), led by her brother and Patrice’s uncle, Carl Brown. They all moved to Houston, which is where her mother and uncle taught her and her brothers how to play. They have been together for over 35 years.

Patrice received musical training in elementary, middle, and high school, where she learned to play the flute. However, today, both Patrice and her brothers play the traditional steel drum from their family’s homeland, which is the signature element for which the group is best known.

Steel Vibrations Steel Band’s Professional Journey Over the Years

The professional activities carried out by Steel Vibrations Steel Band have centered around places such as Florida, Maryland, and New Jersey, among other states in the country. At the moment, they have not had the opportunity to tour abroad, but they do not rule out the possibility of doing so in the future.

It is precisely in these locations where Patrice and the rest of the group have delighted their audience with the metallic drum native to their roots, receiving an extraordinary reception from those attending their shows. Many people love the Caribbean and perceive this music as cheerful or relaxing depending on the mood of the moment, so they always achieve an excellent connection with those who come to see them.

While they usually play certain Trinidadian genres such as soca and calypso, they do not limit themselves to those alone and also play other Latin genres such as salsa and bossa nova.

The Hardest Moment for Patrice and the Group

One of the toughest moments Patrice and her brothers had to face was during the COVID-19 pandemic. Since everything was closed due to the quarantine, as we all know, there were no venues to perform at.

It was a very difficult time for all artists, and Steel Vibrations Steel Band was certainly no exception, but that does not mean they didn’t do everything possible to stay afloat despite the circumstances. At first, they couldn’t do much, but as time went on, they began performing at much smaller parties and events than usual, adhering to the social distancing requirements of that time.

The steel pan Patrice played — The steel pan Patrice and her brothers played at the Junior High International Festival

Additionally, just as many other artists did, they relied on social media platforms such as Instagram and Facebook to stay afloat and maintain contact with their fans and followers.

International Steel Pan Festival

When we wanted to know what they had planned for the remainder of this year and 2027, it turns out that Steel Vibrations Steel Band performed in September at the International Steel Pan Festival. Most of the artists performing there hail from the Caribbean, which is why their presence is always requested at these types of events. Patrice and her brothers are happy to attend whenever they are invited and have the opportunity.

Panamanian bandleader, composer, and jazz percussionist Ed East puts Iowa to enjoy Latin music

Ed East is a Panamanian bandleader, composer, and jazz percussionist whom we had the opportunity to interview exclusively for the October 2026 edition of International Salsa Magazine. The artist, who currently lives in Iowa, United States, gave us a summary of his entire professional activity from the beginning up to the present day.

After thanking him for accepting our invitation and asking him about his beginnings in music and what led him to dedicate himself to this world, he responded with the following:

“Musical curiosity is a very interesting matter. Since I was very young, I had musical influences; my main influence was my father. My dad was not a musician, but he was the main influence I had because what he did was to consume music of all kinds. He was an omnivore when it came to music; he played both classical music at home and traditional Panamanian music.”

This is Ed East — This is bandleader, composer, and percussionist Ed East

It was as a result of his father’s love for music that Ed began to become increasingly familiar with music from all over the planet. Returning to the fact that Ed is from Panama, this country is well known for the interoceanic canal through which many people pass from all over the world, several of whom choose to stay there for a while or even for the rest of their lives. In that process, they bring their cultures with them and contribute to the cultural tapestry of Panama.

This is how many Panamanians grew up listening to all those influences, which included music from countries like Haiti and Brazil. They do not speak Patois, but they love the rhythm of the music. These genres also sparked his interest in drums from a very young age, leading him to join his school’s drum band, which could be considered the young man’s first experience with percussion.

Around that time, his sister’s boyfriend came home with a guitar and started playing and singing, which fascinated Ed and made him fall in love with the instrument. His curiosity about the guitar was so strong that he entered the National Conservatory in Panama to study it for a couple of years. Unfortunately, he was too young to appreciate what he was learning, so he did not put in the necessary effort at the time. However, that curiosity remains so active today that the guitar continues to be one of his main instruments.

Instruments Ed has learned to play

Regarding the other instruments he plays, Ed spoke to us about a friend he met during his time in the drum band. This friend was related to people in the government, and their band director was a very astute person who knew how to make connections. The director proposed to his friend that he join the band, a proposal he accepted, and in turn, invited Ed to join as well.

Sephia IA — Ed East playing the trumpet during his youth

Although the director was not very interested in Ed—focusing instead on his friend—they gave him the opportunity to join playing any instrument. He then remembered that he had a trumpet at home that belonged to his uncle, and he began to study it.

He even earned a scholarship to study in the United States at the University of Northern Iowa, which hosted the oldest jazz festival in the country. Fortunately for him, the training he brought from his home country helped him greatly in adapting to this new and much more demanding environment.

Decision to stay permanently in the United States

When those responsible for deciding whether or not to award Ed the scholarship asked him: “Listen, if you are doing very well over there at the university and doing well with music, will you return to Panama or stay there?” His hesitation was very brief, as he was very clear about what he wanted to do. So, he chose to be honest and replied: “No, if things are going well, I’m staying.”

Ultimately, Ed received his scholarship, graduated with honors, and joined honor societies whose members were selected by the professors, which was extremely favorable when it came to finding employment. That was how he quickly managed to land a job as a music teacher and band director.

Along the way, his greatest influences were professor and band director Ricaurte Hayes and professor Fernando “Tito” Rodríguez, both of whom were fundamental in his development as an artist.

Ed playing — Ed East playing percussion live

First professional experiences

His professional network naturally began at the university, where, thanks to his talent and dedication, he managed to rise from the last band to the top band in a short time, leading him to go on tour with his very own professors. This collaboration gave birth to the Alto Maiz Jazz and Salsa Orchestra. The name Alto Maíz is a derivation of what exists in Iowa known as Tallcorn; thus, the direct translation was Alto Maíz, which became the band’s name.

Ed initially started as one of the three percussionists until he was encouraged by his bandmates to write his first vocal arrangement for the song “Cuando Te Veo” by Bobby Valentín. For this track, he took on the lead vocals alongside the backing chorus.

Many years later, Bob Washut decided to step away from the orchestra to focus on other projects, leading Ed to take on the role of director, producer, and principal arranger of the orchestra.

Ed East Latin Jazz Quorum

Alongside the Alto Maíz Orchestra, Ed also formed other groups, eventually shaping what is known today as the Ed East Latin Jazz Quorum. This is an independent project with a smaller format in which the artist explores other repertoires. The band has adapted to the point where it can perform as a duo, quartet, or quintet, depending on what the client requests.

Today, he plays alongside musicians of the caliber of bassist Danny Olin, percussionist Maurice Arteaga, and saxophonist Tejo Shorter.

Russian composer, artistic director, and saxophonist Yaacov Mayman conquers New York

We are truly happy to spend time with Grammy-nominated composer, artistic director, and saxophonist Yaacov Mayman, whom we had the opportunity to interview by email about the most significant aspects of his career and the legendary figures with whom he collaborated with on stage and in the studio.

Next, we will talk about some of the pivotal moments of his brilliant career to date.

Yaacov Mayman playing the saxophone live. Photo taken by Al Gor

How Yaacov first became interested in music

Yaacov, who is originally from Russia and lived in Israel for many years, decided he wanted to play the saxophone by hearing Charlie Parker for the first time. His sound, freedom, and imagination opened a whole world in front of him he just had to explore fully.

However, his musical foundation did not begin there, but in his native Moscow, where he used to attend classical music concerts from a very young age. He originally wanted to be a singer, but was not admitted to the Central Music School. Instead, he was accepted into the cello class at his local music school. That was the beginning of his formal musical education, and later jazz led him to the saxophone.

In addition, his mother is an artist and his father is an engineer. Most of his family worked in technical fields. He grew up with both creativity and discipline around him, and music became his own way of expressing those qualities.

First professional experience

His first professional concert experience as a saxophonist was playing with a big band. Before that, he had performed on cello with his music school orchestra, so he already knew the feeling of being onstage with other musicians. But playing jazz in a big band was a new experience: the energy, the rhythm, and the chance to express his own voice through improvisation.

It taught him that he has to listen to the whole band, understand his role, and be ready when his moment comes. Those early experiences gave him a foundation that he still carries with him today.

Yaacov Mayman playing with Valery Ponomarev — Yaacov Mayman playing with legendary jazz trumpeter Valery Ponomarev

Collaborations with other great artists

Throughout his 30-year career in the industry, Yaacov has collaborated with renowned figures such as Benny Golson, Joe Lovano, Bill Evans, Randy Brecker, and the Bobby Sanabria Multiverse Afro Latin Big Band. He notes that working with musicians of that caliber is an education in itself.

Their phrasing, discipline, and command of the stage taught him to listen more closely and respond naturally. Each has a personal musical voice, and being around them encouraged him to keep developing his own.

He also learned that a powerful sound requires not only warmth and sensitivity, but also strength. It is all about how a phrase is shaped, how space is used, and how honest communication is. Trust between musicians grows from preparation of those sharing the stage at that moment.

Iconic venues

Yaacov has performed at iconic venues like Carnegie Hall, Birdland Jazz Club, and Dizzy’s Club Coca-Cola, though he sees his career as a series of important moments rather than one single turning point. Playing at Carnegie Hall carries a special sense of history and responsibility. At Birdland and Dizzy’s, he feels close to the living tradition of jazz, while a festival such as the Red Sea Jazz Festival brings that music to an international audience.

For Yaacov, building a musical life in New York has been the larger turning point. It brought him into contact with extraordinary musicians and audiences who know and love this music. Those experiences helped him grow in confidence and made him want to keep reaching higher.

Yaacov and bobby Sanabria — Yaacov Mayman, Bobby Sanabria, Rufus Reed and George A Johnson Jr. rehearsing for MADEinNY Jazz Gala Concert

Yaacov as artistic director of the Made in NY Jazz Competition and and the Made in New York Jazz Festival

Yaacov explains that what attracted him to the digital format was the possibility of hearing talented musicians wherever they lived. There are wonderful artists around the world who cannot easily travel to New York or reach the people who could help their careers. An online competition gives them a way to be Heard and creates connections that can lead to live musical collaborations.

As Artistic Director, he is interested in more than technical skill. I listen for an individual voice, musicality, creativity, and feeling. Technique matters, but I want to hear the person behind the notes.

In the case of the festival, artists share the stage, exchange ideas, and learn from one another.

Community Concert Network Inc.

Another important role for which Yaacov stands out is serving as president of the non-profit organization Community Concert Network Inc., which is dedicated to bringing jazz cultural programs and events to underserved communities in New York. This has become a profoundly meaningful initiative for him, as he believes live music should be available to people regardless of their income.

Often, the price of a ticket or the difficulty of traveling to certain venues hinder access to great live music, which directly inspired the creation of this project. On this matter, he states the following:

“New York has an extraordinary musical culture, and I want more of its communities to share in it. Bringing concerts into local centers lets us meet people where they are and make the experience welcoming and personal.”

Yaacov is the president of the non-profit organization Community Concert Network Inc.

The 8th edition of the Frankie Ruiz Salsa Festival in Mayagüez honored “The Father of Salsa” across three days of live concerts

A Star-Studded Lineup in Mayagüez to Celebrate Frankie Ruiz

The eighth edition of the Frankie Ruiz Festival welcomed die-hard salseros to the “Sultana of the Caribbean,” nonplussed by the rainfall. Held at the Frankie Ruiz Shell Ampitheater, the festival paid tribute to Roberto “Bola” Rivera the bassist, bandleader, and creator of La Solución. The musical showcase kept salsa fans captivated all weekend long, defying the bad weather that tried to dampen attendance.

On Friday, July 28, the opening night kicked off with Los Guardiola, led by Josh, with Willy on vocals delivering tracks like “Ruleta,” “Cuadro roto,” “Es tiempo,” and “Al son que me tocan bailo.” The brothers’ energy set the stage ablaze for the rest of the weekend. Up next was “El Mulato Rumbero,” Michael Stuart, who brought maximum energy as he performed the biggest hits from his fruitful career. The crowd danced and sang at the top of their lungs to “Amor a primera vista,” “Sueño,” “Imaginando tu amor,” “Te amo,” “Me enamoré,” “Niña bella,” “Me siento vivo,” “Gitana,” and “Será que no me amas.” Attendees also got to enjoy the live premiere of his new single, “Ya lo sé.”

Closing out the night to great acclaim was the “orchestra of eternal youth,” Mulenze, led by bassist and director Edwin Morales, playing the fan-favorite tracks salseros have made timeless. They served up “A mí me huele,” “Te amo en silencio,” “Mi negrita,” “Toco madera,” “Yo prometo,” “Por él,” “Me dejaste en pausa,” and “Anoche aprendí.”

Saturday’s lineup on July 29 kicked off with Roberto Rivera’s Orquesta La Solución. The second act brought solo artist Willie González to the stage, who delivered emotional performances of “Seda,” “En la intimidad,” “Pequeñas cosas,” “No podrás escapar de mí,” “Quiero morir en tu piel,” “Doble vida,” “Paso la vida pensando,” “Hazme olvidarla,” “Amor pirata,” and “No es casualidad.” Closing out the second day was Sonora Ponceña. “The Giants of the South” brought their signature high voltage to tracks such as “Bombacarambomba,” “Sola vaya,” “Juana Bayona,” “Date cuenta,” “Canto al amor,” and “Rumba en el patio,” among others.

The crowd drew delegations from Colombia, Peru, Panama, and Ecuador, alongside local Puerto Ricans from across the island and members of the diaspora returning home to celebrate their Puerto Rican pride.

The third and final day of the 2026 edition of this salsa event organized alongside Judith Ruiz, widow of “El Tártaro de la Salsa” was presented in partnership with Mayagüez Mayor Jorge Luis Ramos Ruiz, the Salsoul team programmed by Ricardo Padilla-Núñez, and produced by Madera Events. The team elevated Puerto Rico’s salsa scene and its artists while delivering a lineup that’s hard to beat. Meanwhile, salsa continues to evolve, and the Mayagüez festival paved the way for new talent, signaling a bright future for the musical movement in which Puerto Rico has always led the charge.

Sunday opened with rising singer Wendy Luna. The second set belonged to Giro, who, after singing “El pasajero,” “Mi forma de sentir,” “El centro de mi corazón,” “Me enamoré,” “Ave María,” and “Si tú supieras,” shared the stage with an up-and-coming talent to watch. Young singer Keydriel Tirado commanded the stage during “Amor lunático”—a moment that surely took Giro back to his own beginnings with the youth group Los Chicos.

The third set showcased the enduring legacy of the late Tommy Olivencia, performed by the orchestra of timbalero and director Tommy Olivencia Jr., featuring Viti Ruiz as a special guest. The repertoire by “La Escuelita”—so nicknamed for serving as a training ground for several of our greatest soneros included “Luna lunera,” “Lo dudo,” “Pan Cuco,” “Vuelve Pan Cuco,” “Te ví,” “Aléjate de mí,” “Amargos recuerdos,” “Cómo lo hacen,” “Que se mueran de envidia,” “Primero fui yo,” and “La suplicante.”

The fourth slot welcomed Maelo Ruiz, who kept kids involved in the show by featuring Samuel André Ramírez Camuñas as presenter and 10-year-old up-and-coming timbalero Matías Adriel Ramírez Camuñas, who proved he is poised to be part of the next generation of salsa. The orchestra continues under the musical direction of conguero Jean Carlos Camuñas, joined by Juan Picorelli on timbales, Carmelo Álvarez on bongo, Jorge Rivera on bass, Reynaldo Burgos on piano, Víctor Ambert and Rolando Alejandro on trumpets, Lester Pérez, César Javier Ayala, and Julio Dipiní on trombones, alongside backing vocalists Jorge Yadiel, David Carrero, and Urayoán Lizardi. Maelo Ruiz kept fans singing along passionately to medleys of hits like “Ladrona de amor,” “Atrévete,” “Me niegas tanto amor,” and “Te quiero amor”; followed by “Yo soy el malo,” “A mí no me da igual,” a medley of hits made famous by Frankie Ruiz, and another medley featuring “Sé que no soy un santo,” “Por favor señora,” “La propuesta,” “Vicio,” “No te quites la ropa,” and “Si supieras.” His set wrapped with “Solo tú,” “Regálame una noche,” “Quien te enamoró,” “Llegó el amor,” and “Te va a doler,” which Maelo performed as a duet with 12-year-old Cabo Rojo native Keydriel Tirado, who proved he possesses the talent, discipline, and charisma required to build a promising career.

The municipal government of Mayagüez formally recognized the musical legacy of Roberto “Bola” Rivera, crediting him with giving Frankie Ruiz his very first professional break.

The performance by El Gran Combo de Puerto Rico featured all-time hits from “The University of Salsa,” including “Pico, pico,” “El swing,” “Aniversario,” “Las hojas blancas,” “Que me lo den en vida,” “El caballo pelotero,” “Amor brutal,” “Adela,” and “El carbonerito”—which included a special performance by Aniel Rosario honoring his late father, Papo Rosario—as well as “El matrimonio” and “Ponme el alcolado Juana.”

The festival’s grand finale was helmed by “El Caballero de la Salsa,” Gilberto Santa Rosa, and his orchestra. The setlist featured classics spanning the legendary career of one of salsa’s most prominent solo artists: “Consciencia,” “Montón de estrellas,” “Cartas sobre la mesa,” “Sin un amor,” “Lluvia” (from his era with the Willie Rosario Orchestra), “Tú,” “El camionero” (a tribute to Frankie Ruiz), “Impaciencia” (featuring a conga showcase alongside Gerardo Rivas, Gilbertito himself, and Pete Perignon), “La agarro bajando,” “Conteo regresivo,” “Amor mío no te vayas,” “Vivir sin ella,” “No quiero na’ regala’o,” and “Perdóname,” among others.

Gilberto Santa Rosa junto a Gerardo Rivas y Pete Perignon

Carmencita DJ, the official Salsoul DJ, kept the music spinning in theme with the event, keeping Frankie Ruiz’s music playing all weekend long.

Also Read: Don Perignon Y La Puertorriqueña releases his new album ‘‘Classique et Savoureux’’

Teresa Carreño: The Walkyrie of the Piano Who Conquered the World

From Venezuelan prodigy to an indispensable figure in classical music: the story of a virtuoso who defied her era.

Teresa Carreño (Caracas, 1853 – New York, 1917) was not only Latin America’s most prodigious pianist and composer, but also one of the most influential virtuosos in the history of classical music.

Nicknamed the “Walkyrie of the Piano” for her extraordinary technical power and overwhelming passion, Carreño shattered the stereotypes of her time and dominated the major concert halls of Europe and the Americas for over five decades.

Teresa Carreño La Walkiria del piano que conquistó el mundo

Education and International Stature

Born into a family with deep intellectual and musical roots—her grandfather Cayetano Carreño was a chapel master, and the famed educator Simón Rodríguez was close to the family circle—she displayed precocious talent under the tutelage of her father, Manuel Antonio Carreño.

Following her family’s emigration to New York in 1862 due to political instability in Venezuela, she made her international debut at just nine years old.

De prodigio venezolano a figura imprescindible de la música universal la historia de una virtuosa que desafió su época

Historic Encounters: In the United States, she gave a private recital at the White House for President Abraham Lincoln. Later, in Paris and Berlin, she refined her technique under the guidance of masters like Louis Moreau Gottschalk and earned high praise from legends such as Franz Liszt, Anton Rubinstein, Johannes Brahms, and Edvard Grieg.
European Acclaim: In 1889, she sealed her international standing with a historic debut alongside the Berlin Philharmonic.

A Multifaceted Career and Musical Legacy

Beyond being a top-tier concert artist, Teresa Carreño was a prolific composer, opera singer (mezzosoprano), conductor, and music educator.

Teresa Carreño (Caracas, 1853 – Nueva York, 1917) no solo fue la pianista y compositora más prodigiosa de América Latina

Field	Key Details
Composition	Wrote over 70 works for piano, orchestra, and chamber ensembles. Her most iconic piece is the Mi Teresita Waltz, dedicated to her daughter.
Chamber Music	Notable works include her String Quartet in B minor and Serenade for String Orchestra, both showcasing remarkable stylistic maturity.
Pedagogy	Developed groundbreaking teaching methods centered on muscular relaxation and cultivating a critical approach to performance.

Immortal Legacy

Teresa Carreño’s legacy extends far beyond her performances preserved on player piano rolls. In 1977, her remains were interred in the National Pantheon in Caracas.

In her honor, the Teresa Carreño Cultural Complex—inaugurated in 1983—remains the epicenter of the performing arts in Venezuela, ensuring that the impact of this classical music pioneer endures for generations to come.

Key Highlights & Historical Context

The Abraham Lincoln Incident: How an out-of-tune piano at the White House didn’t stop her from mesmerizing the U.S. President.
Her Roles as Conductor and Singer: How she stepped up to conduct the orchestra and sing roles on short notice during her opera tour in Venezuela (1885–1887).
Pedagogical Impact: How her techniques on arm weight and posture revolutionized modern piano instruction.

Important Note:

The Teresa Carreño Theater, located in the Los Caobos neighborhood of Caracas, is one of the most iconic cultural complexes in Venezuela and Latin America. It is distinguished by its Brutalist reinforced concrete architecture, which integrates large geometric volumes with open spaces and incorporated artworks.

El Teatro Teresa Carreño, ubicado en la urbanización Los Caobos en Caracas

Location Details:Address: Paseo Colón, between Plaza Morelos and Luis María Campos Park (Los Caobos Park), Bellas Artes, Caracas. Nearby Access: Bellas Artes Metro Station (Line 1)

Also Read: Chick Corea Pianist, composer, arranger, producer, teacher. Acoustic and Electric

By: Dj. Augusto Felibertt