Orchestra

Fernando Lavoy The Montunero of Salsa and Son

The Indelible Footprint of a Masterful Voice in the Golden Era of SAR Productions.

Introduction and Musical Legacy, Fernando Lavoy was one of the best-kept and most dazzling secrets of 20th-century Afro-Cuban music.

Born on May 6, 1950, in Havana, Cuba, he possessed an exceptional mastery and vocal quality that quickly caught the attention of the era’s biggest icons.

It was the legendary trumpeter Alfredo “Chocolate” Armenteros who, blown away by Lavoy’s innate gift for traditional phrasing and improvisation, affectionately dubbed him “El Montunero” (The Montuno Master).

Fernando Lavoy El Montunero de la Salsa y el Son

Throughout his career, Lavoy showcased his talent as both a singer and songwriter in heavyweight ensembles, including:

The celebrated Sonora Matancera
Chocolate Armenteros’ orchestra
Conjunto Dinastía Diez
Roberto Torres’ mythical SAR All Stars

He also led his own group, “Los Soneros.” His tragic murder in 1992 in Miami, United States, cut short the life of a brilliant artist, but left an indelible mark on the heritage of tropical music.

The Rise in New York and the Alliance with SAR Productions

After emigrating to the United States in 1980 in search of new artistic horizons, Lavoy immediately immersed himself in New York’s effervescent Salsa and Son scene.

His first big break came courtesy of Chocolate Armenteros, contributing masterfully to the album “Y sigo con mi...” under the SAR Productions record label.

Sar All Stars La India de Oriente,Jorge Maldonado Y Fernando Lavoy y en el tres Charlie Rodriguez

Founded by Roberto Torres, this record label was characterized by a unique musical aesthetic: it championed the classic texture of Cuban son, extending song lengths to allow generous space for instrumental solos and pure improvisation.

In 1981, Lavoy solidified his place as a member of the SAR All Stars, catapulting his voice into the spotlight of the most demanding music lovers.

Unlike other commercial acts of the era (such as Fania Records) that leaned heavily into crossovers with the English-speaking market, SAR Productions stood firm in direct Cuban roots. While they injected subtle nuances of jazz, they preserved that traditional, deep, and organic cadence that captivated Hispanic audiences.

Fernando Lavoy y Los Soneros: A Distinct Identity

Between 1981 and 1982, Fernando Lavoy recorded two foundational albums under his own name: “Los Soneros” (1981) and “Fernando Lavoy y Los Soneros” (1982).

Although the norm at SAR was to use the talented house band to back soloists, Los Soneros presented themselves as an autonomous group with their own identity, produced by the infallible Roberto Torres.

The ensemble stood out for its solid instrumentation led by trumpeter Juan González, who served as director and arranger, accompanied by his son Juan González Jr. on piano and the virtuoso Juan Méndez on bongo.

The band was formally structured as a classic, old-school conjunto: four powerful trumpets, bass, conga, bongo, and three backing vocalists stylishly led by Norman Rodríguez.

Analysis of a Masterpiece: The 1982 Album

The 1982 record is absolute proof of Lavoy’s musical maturity; he composed 50% of the repertoire.

“No voy a dormir”: The album opens electrifyingly, where a powerful trumpet introduction gives way to Fernando’s entrance, followed by a masterful trumpet solo by Juan González and an explosive bongo breakdown by Juan Méndez that builds into a montuno climax.
“Cóquela suave”: A son montuno penned by Lavoy that, true to its name, begins with a smooth, gentle cadence before transforming into a hard-hitting, danceable son, enriched by a sublime piano solo from Juan González Jr.
“Pegaditos”: A famous composition by Miguel Matamoros who, along with Arsenio Rodríguez, stands as one of the pillars of son is reinterpreted while respecting the purity of its traditional structure. The track shines with a high, piercing trumpet that floats above the Cuban singer’s vocals, experimenting with tempo variations that gradually increase the rhythmic intensity alongside flawless backing vocals.
“Juana la sin goma” & “No vuelo contigo”: The album closes with the former, a track packed with playfulness, dance energy, and high-octane lyrics, and the latter, a more laid-back son that, without quite becoming a bolero, maintains the majestic structure of Cuban son with a vibrant closing montuno.

Ultimately, Fernando Lavoy’s work remains a foundational pillar that vindicates the sabor, rhythm, and eternal essence of son montuno.

Text courtesy of Maida Lorena Lavoy.

Foto Museo De La Salsa, en Barrio Obrero, en su visita en 1991 junto al gran cantante puertorriqueño Yayo El Indio y Carlos Molina Castellanos, actual director del Museo De La Salsa

Also Read: Alfredo “Chocolate” Armenteros: The Golden Legacy of the Cuban Trumpet

The Senior Mulato Jerry Rivas and His Half-Century Legend with El Gran Combo de Puerto Rico

From the chords of the Puerto Rican cuatro to the eternal voice of “Los Mulatos del Sabor”

Few names resonate with as much power, respect, and relevance in the salsa firmament as that of Jerry Rivas.

Born in Tampa, Florida, but with his soul deeply rooted in the heart of Orocovis through his parents’ heritage, Jerry Louis Rivas Díaz has carved his name in letters of gold into the history of Caribbean music.

El Mulato Mayor Jerry Rivas y su Leyenda de Medio Siglo con El Gran Combo de Puerto Rico

Nearing 50 years as the lead vocalist for El Gran Combo de Puerto Rico, Rivas is more than just a singer; he is a living institution of salsa, a definitive sonero of his era, and the guardian of a legacy that continues to keep the entire world dancing.

Roots, Strings, and the Making of a Self-Taught Musician

Jerry’s history with Puerto Rico formally began in 1960, when his family moved back to the “Isla del Encanto” to settle in Bayamón.

There, the young Jerry began to breathe in the folklore and rhythms that defined the Boricua identity. What many do not know is that long before commanding microphones and international stages, Jerry was deeply passionate about string instruments.

As a fundamentally self-taught musician and singer, his first great love was the guitar. Over time, his musical curiosity led him to master the Puerto Rican cuatro, the island’s national instrument par excellence.

De los acordes del cuatro puertorriqueño a la voz eterna de Los Mulatos del Sabor

Not content with just that, he decided to delve deeper into the roots of Afro-Caribbean music, learning the secrets of the Cuban tres under the tutelage of the renowned professor Carlos Seguí.

This solid foundation as an instrumentalist not only shaped his ear but also gave him an impeccable sense of rhythm and timing that would later define his unique style for soneo (improvisational singing).

The Path to the Top: From Local Bands to a Historic Recruitment

Before the spotlight of El Gran Combo fell upon him, Jerry Rivas honed his craft throughout the island’s musical circuit, leaving his mark on every project:

Grupo Complicación: His teenage musical battleground, where he served as a guitarist for three years.
Conjunto Cojoba: A group he joined in 1972, sharpening his stage presence.
Conjunto Chaney (1974): Jerry was part of the select group of founding musicians of this project, which years later would become a powerhouse of romantic salsa.
Latin Brass (1976): The definitive showcase where his voice truly began to shine on its own.

It was precisely in 1976 when destiny knocked on his door. Following the shocking departure of the iconic “Niño de Trastalleres,” Andy Montañez who left the orchestra after 14 golden years to join Venezuela’s Dimensión Latina El Gran Combo found itself facing one of the most difficult transitions in its history. Replacing a legend seemed like an impossible task.

However, the keen eye of Don Quique Lucca (founder of La Sonora Ponceña) did not fail. Don Quique recommended the young Jerry to Don Rafael Ithier. After hearing him perform, Ithier didn’t hesitate: in 1977, Jerry Rivas officially joined the “University of Salsa.”

Nacido en Tampa, Florida, pero con el alma arraigada en las entrañas de Orocovis por la herencia de sus padres, Jerry Louis Rivas Díaz

Nearly 50 Years of History at “The University of Salsa”

Joining such a demanding institution in the midst of an era-defining shift was a monumental challenge. Audiences initially viewed the new member with skepticism, but Jerry, armed with unwavering humility and immense talent, never tried to imitate his predecessor; instead, he forged his own legend.

Across nearly five decades, his voice has immortalized anthems of the global salsa songbook. Essentials on any dance floor like “Azuquita pa’ el café,” “Ojos chinos,” “Y no hago más na’,” “El menú,” “Cupido,” and “La clave” carry his unmistakable stamp.

His elegant performance style, combined with his sharp wit and deep respect for the dancer, solidified the orchestra’s golden age and ensured the transition was a resounding success.

“Joining El Gran Combo was a tremendous school and responsibility. Replacing Andy was no easy feat, but Don Rafael Ithier gave me the confidence to just be myself on stage.” Jerry Rivas, looking back on his beginnings.

Pocos nombres resuenan con tanta fuerza, respeto y vigencia en el firmamento de la salsa como el de Jerry Rivas.

The Present and Vibrant Legacy of an Eternal Sonero

Now in 2026, the tropical music landscape has changed drastically, but El Gran Combo de Puerto Rico remains unshakeable at the top.

Jerry Rivas stays incredibly active, leading the vocal front of “Los Mulatos del Sabor” alongside the orchestra’s newer generations, Anthony García and Joselito Hernández. This blend of Jerry’s veteran wisdom and the energy of the new vocalists has injected a refreshing vitality into the group.

Jerry Rivas is not just a survivor of salsa’s golden age; he is the living bridge connecting the rich traditions of the 20th century with contemporary audiences.

From his days tuning strings in Bayamón to packed stadiums across Europe, Latin America, and the United States, his journey stands as a testament to discipline, passion, and love for his culture.

We wish lifelong health, inspiration, and continued success to this eternal maestro who, besides being one of salsa’s most beloved voices, has never ceased to be, in every sense of the word, a complete musician. Long live the music of Jerry Rivas, and let the drums keep rolling!

Also Read: The Gran Combo of Puerto Rico “Los Mulatos del Sabor”

Angie Machado, “El Colorao” The Trumpeter’s Trumpeter and a Living Musical Legend

A legacy carved in brass and talent.

The history of Latin music especially Salsa and Afro-Cuban Jazz could never be written without mentioning the bright, precise, and melodic tone of a trumpet that has shaped the course of countless hit records.

Angie Machado Un legado tallado en bronce y talento

That signature sound belongs to one man: Ángel Vicente Machado Santiago, known universally throughout the artistic community as Angie Machado.

On June 23, 2026, the music world dressed to the nines to celebrate the birthday of this titan. Born in 1954 in the picturesque municipality of Arroyo, Puerto Rico, Angie Machado has not only witnessed the evolution of tropical music over the last five decades; he has been one of its foundational architects.

His career stands as living proof that musical genius, when cultivated with rigorous discipline, transcends passing trends and becomes legendary.

The Forging of a Virtuoso

His path to excellence was no accident. From a very young age, Angie understood that a natural gift for music required a solid vehicle for expression. His formal training began at the prestigious Escuela Libre de Música, a breeding ground for talent in Puerto Rico, where he developed the foundational skills to understand the language of brass and wind instruments.

Later, he made the leap to the Conservatory a space where, beyond musical theory, he absorbed a philosophy of life: discipline as the only route to mastery.

Under the tutelage of rigorous maestros and fueling his growth by analytically listening to history’s greatest trumpet virtuosos, Machado understood that music is not just played; it is studied, reflected upon, and felt deeply.

Those grueling hours of constant practice, where the sound of his trumpet filled every corner, became the bedrock of the “old school” style that distinguishes him today.

That school didn’t just teach notes; it taught phrasing, style, respect for the arrangement, and, above all, the intuition to know when the trumpet should lead and when it should elegantly embrace the melody.

The Trumpet That Defined an Era To speak of Angie Machado is to speak of the history of Salsa itself. His talent was never confined to classrooms or local bands; he rapidly became an indispensable session musician.

If you look at the liner notes of the most iconic albums that defined the “Golden Era” of Salsa, you are almost guaranteed to find his name in the credits.

His ability to adapt to diverse styles from the required grit in Willie Rosario’s orchestra or the explosiveness of Tommy Olivencia, to the subtle elegance demanded by Gilberto Santa Rosa or the unmatched swing of Bobby Valentín positioned him as the most sought-after trumpet player in the industry.

The roster of icons with whom he has shared the stage and the studio is, quite simply, staggering. He has been the musical partner-in-crime to Cheo Feliciano, the soul of Frankie Ruiz’s recordings, the technical and creative backbone for Eddie Palmieri, and a brother-in-arms to Oscar D’León.

His trumpet has traveled the world, backing maestros like Justo Betancourt, Andy Montañez, Lalo Rodríguez, Paquito Guzmán, and Viti Ruiz, as well as a powerhouse of artists ranging from traditional sounds to contemporary fusions, including Luis Enrique and Alex León.

A Living Legend What makes Angie Machado a truly singular figure is not just his résumé, but his enduring relevance. In an industry in constant flux, he has preserved the absolute integrity of his sound.

His “privileged old-school” pedigree doesn’t mean he is stuck in the past; it means he possesses a technical foundation so robust that it allows him to collaborate seamlessly with any generation of musicians.

To those who know him, Angie is not just the trumpet player who can nail a recording session in minutes with breathtaking precision; he is a silent mentor a man who has watched the decades roll by while maintaining the same humility and love for the instrument he had when he first started out in Arroyo.

As we celebrate another year of his life, we are not just celebrating an exceptional musician; we are honoring a living piece of our cultural heritage.

Angie Machado reminds us that behind every great song that has made us dance or cry, there is a human being whose dedication and discipline have turned the brass of a trumpet into pure poetry.

Also Read: The King of Bass Mr. Bobby Valentin

Phil Robinson Blends Sensitivity and Tradition in His New Single “Allí Me Enamoré”

A Romantic Salsa Gem That Transforms the Bond of Friendship Into an Honest Declaration of Love

Romantic salsa adds a new gem to its repertoire with the release of “Allí Me Enamoré” (“There, I Fell in Love”), the latest single by Phil Robinson.

Phil Robinson une sensibilidad y tradición en su nuevo sencillo “Allí Me Enamoré”

It is a track filled with sensitivity, nostalgia, and emotion that aims to reconnect the audience with the genre’s narrative essence.

Composed by Puerto Rican songwriter Andy Roldán renowned for his ability to translate intimate feelings into deeply human lyrics this song unfolds as a love story that blossoms from the complicity of a sincere friendship into an inevitable confession of the heart.

From its opening verses “Hola amiga, ahora que al fin puedo mirarte a los ojos…” (“Hello my friend, now that I can finally look into your eyes…”) the track draws us into an intimate, almost confessional conversation, where the protagonist opens the pages of his soul to reveal a long-held feeling.

The lyrics journey through memories, silences, glances, and restrained emotions, building a narrative that many listeners will easily identify with: that exact moment when friendship is no longer enough because love has already taken root.

Phil Robinson delivers a warm and honest performance, anchoring every phrase with an emotional weight that highlights the depth of the lyrics. His voice successfully balances tenderness and passion, turning the song into an intimate, almost cinematic experience where every word feels lived in real time.

One of the greatest achievements of “Allí Me Enamoré” is its capacity to bridge the present day without abandoning salsa traditions. The contemporary reference to the everyday act of “opening your profile where I can see you” embeds the song into the emotional language of the digital age, bringing modernity to a classic story of unrequited love.

The chorus “En las páginas de tu alma, amiga, allí me enamoré” (“In the pages of your soul, my friend, there I fell in love”) stands as the poetic centerpiece of the composition: a delicate metaphor that transforms the human soul into an open book, an intimate territory where true love is born. This imagery gives the track its own unique identity, making it a memorable piece within today’s romantic repertoire.

La salsa romántica suma una nueva joya a su repertorio con el lanzamiento de “Allí Me Enamoré”, el más reciente sencillo interpretado por Phil Robinson.

Musically, the single is built upon an elegant melodic foundation, remaining faithful to the core DNA of romantic salsa, with arrangements designed to embrace the lyrics without stealing the spotlight.

The instrumentation subtly accompanies the emotional development of the story, allowing both the vocals and the message to breathe naturally.

With this release, Phil Robinson reaffirms his commitment to a style of salsa that not only invites people to dance but also to feel, remember, and confess. “Allí Me Enamoré” is a song for those who have loved in silence, for those who discovered too late that a friendship concealed a deep love, and for those who still believe in the power of a great story sung with absolute truth.

THE MUSICAL CAREER OF PHIL ROBINSON

Phil Robinson is a sonero, songwriter, performer, and director of his own orchestra. His charisma and his entrepreneurial, creative, and positive attitude allow everyone who speaks with him to enter his world, captivated by his love for music and his passion for learning, evolving, and improving every day. Robinson has loved the arts from a very young age.

Orquesta Yaré was the dream of a young man who, like Phil, wanted to make it big in the world of Latin music. It was founded and directed by Leroy Gutiérrez (conguero, timbalero, and bongosero), featuring original tracks alongside his brothers Johnny (bongosero) and Loui (trumpeter).

At the time, Leroy was a percussionist, but he also taught himself to play the piano. Gutiérrez invited Phil to join the group to turn him into a star. Yaré was a 12-piece orchestra, and all of their music was entirely original.

During a performance at Landis Park in Vineland, New Jersey, Orquesta Yaré backed the legendary Néstor Sánchez and Larry Harlow, the “Judío Maravilloso” (The Marvelous Jew) of the Fania All-Stars, who attended as guest artists. For Phil, it was a dream come true to share the stage with icons he so deeply admired. Years after that historic performance, Robinson reunited with Larry Harlow in Los Angeles and was able to share a photograph of that very first experience together.

As his musical journey evolved, he became the lead vocalist for Henry Mora and the All Star Salsa Orchestra of Los Angeles, while also collaborating with various local bands.

From there, he went on to become the lead voice for Eric Matos and Orquesta La Caliente, as well as Papo Rodríguez y La Sorpresa.

With the latter group, he recorded two original songs composed by Puerto Rican pianist Nelson Montalvo: “Fantasía” and “Mi Regalo,” which were included in the 2005 album titled Oye Salsa Sabor y Clave.

During Phil’s tenure with Papo Rodríguez, the renowned Panamanian singer Camilo Azuquita arrived in the city, and the band transformed into Azuquita y su Melao.

Phil served as his lead vocalist and primary background singer for several years, performing at prestigious venues such as the Hollywood Palladium and sharing the stage with iconic industry figures. Thanks to these valuable collaborations, Robinson fully polished his signature style.

Phil Robinson es sonero, compositor, ejecutante y director de su propia orquesta

Throughout his career, Phil has shared the stage with legends of the stature of Adalberto Santiago, Tony Vega, Herman Olivera, Yolanda Rivera, Meñique, Luigi Texidor, Wichy Camacho, Cuban singer Franco, Willie Chirino, and Celia Cruz, among many others.

After seven years of dedicated work, Phil completed and released his latest musical project titled Entre Dos Mundos (Between Two Worlds), produced by Arturo Solar.

This production features classic compositions from renowned authors such as Armando Manzanero, Ted Koehler, Harold Arlen, Virgilio and Homero Expósito, Enrique Benítez, Vicente Garrido Calderón, and Jesús Alejandro, alongside original tracks penned by Phil himself.

Robinson notes that, starting in 2023, he became a TV spokesperson and the MC (master of ceremonies) for the San Juan Puerto Rican Festival.

KCAL Channel 9 LA KCAL Channel LA Promoviendo el Festival Boricua en KCAL 9 Los Angeles

Here at Malanga Radio, we celebrate this premiere as proof that romantic salsa remains alive, evolving with new voices, new pens, and new emotions.

Allí Me Enamoré” is now available on all digital platforms.

Chechy Rosado

Public Relations

+57 301 685 2655

Barranquilla – Colombia

Also Read: Phil Robinson Sonero, composer and performer bandleader

The Flavor of Barrio La-33 and the Urban Salsa Revolution

The Birth of Swing in Chilly Bogotá

Bogotá, a city nestled more than 8,600 feet above sea level, cold and prone to drizzle, did not seem in the early 2000s like the most obvious birthplace for one of the 21st century’s most influential salsa orchestras.

El Sabor del Barrio La-33 y la Revolución de la Salsa Urbana

However, in 2001, in the heart of the Teusaquillo neighborhood, La-33 was born. Breaking the stereotype that salsa only flourishes on warm coasts, this band proved that Caribbean flavor (sabor) also runs through the veins of the Colombian capital.

Founded by brothers Sergio and Santiago Mejía (musical director/bassist and keyboardist, respectively), the orchestra took its name from the street where they held their first rehearsals: 33rd Street (Calle 33).

From its inception, the project had a clear identity: to rescue the raw, urban, and gritty sound of 1970s salsa brava, evoking legends like Héctor Lavoe, Willie Colón, and the Fania All-Stars, while injecting it with the attitude, energy of rock, and Bogotá’s gritty street vibe. To finance their first album, the band members saved money earned from their gigs in local bars and nightclubs.

The “La Pantera Mambo” Phenomenon

La-33’s rise to international stardom was no accident, but rather the result of a brilliant recording masterstroke. In 2004, they released their self-titled debut album, La-33. The record included a track that would become their ticket to the world: “La Pantera Mambo.”

This piece a spectacular mambo-rhythm version of Henry Mancini’s cinematic classic, “The Pink Panther Theme” fused jazz, suspense, and a powerhouse horn section.

The song instantly became a radio hit and an essential anthem on dance floors from Cali to Berlin, proving that salsa was not a genre of the past, but a living language capable of reinventing Western pop culture.

El año 2001, en el corazón del barrio Teusaquillo, nació La-33

Dynamic Evolution and Discography

Unlike the salsa romántica orchestras that dominated the commercial hit charts in the ’90s and 2000s, La-33 bet on an organic sound heavily influenced by mambo, jazz, pasodoble, and ska.Their music dispenses with excessive synthesizers, prioritizing instead the raw power of percussion, the brilliance of the horns, and lyrics that narrate daily life, urban chaos, and bohemian nightlife.

Throughout their career, they have built an impeccable musical catalog across several studio albums:

La-33 (2004): The debut album featuring “La Pantera Mambo” and “Qué Rico Boogaloo.”
Gózalo (2007): Nominated for a Latin Grammy, it solidified their success with tracks like “Bye-Bye” and “Soledad.”
Ten Cuidado (2009): A more mature record exploring fusions with ska and jazz.
Tumbando por ahí (2013): A tribute to the band’s street-smart, party-loving spirit.
Caliente (2016): Their fifth studio production, released to celebrate fifteen years on the scene.
Si tú quieres salsa (2019): A return to their roots with a powerful, mature, and refreshed sound.

Global Ambassadors of Colombian Salsa

What began as a group of friends rehearsing in a Bogotá house transformed into a global phenomenon. La-33 has toured all five continents, performing at prestigious international events such as the Sziget Festival in Budapest, the Cali Fair (Feria de Cali), and various jazz and world music festivals across Europe, Asia, Africa, and the Americas.

Their ability to get audiences who don’t even speak Spanish dancing is a testament to the universal power of their horn section and rhythmic core.

La 33 El nacimiento del swing en la fría Bogotá

Today, La-33 is not just an orchestra; it is an institution of Colombian alternative music. They proved that salsa can be played wearing leather jackets and a punk attitude while maintaining absolute respect for Afro-Latin roots making it clear that to have swing, all you really need is passion.

Band Members

Sergio Mejía (Bandleader and electric bass)
Santiago Mejía (Keyboards)
Guillermo Celis (Vocals)
David Cantillo “Malpelo” (Vocals)
Edison Velásquez (Vocals and flute)
Alejandro Pérez (Congas)
Juan David Fernández “Palo” (Timbales)
Diego Sánchez (Bongos)
Vladimir Romero (Trombone)
José Miguel Vega (Trombone)
Adalber Gaviria (Saxophone)
Roland Nieto (Trumpet)
Javier Galavis (Sound engineer)
Ray Fuquén (Field producer)

Also Read: Colombia’s legendary Grupo Niche and its founder Jairo Varela