September

Kizomba Conquering the World of Salsa

North America / USA /

These are some of the things I learned about Kizomba when my boss told me to write about it: Its official language is Portuguese; I bet you didn’t know that, either.

See, even when we thought we knew about this music genre, because we hear it at parties, get together or social events; as a Caribbean music, known by its movements that are alike the common Latin rhythms, it actually comes from Angola; a country in Southern Africa, near Namibia; and its official language is Portuguese.

That is why the first and most popular Kizomba songs are in Portuguese.

Diogo Cão was that responsible Portuguese explorer to discover Angola and to determine its official language and culture. Who could possibly know that after the colonization era, MUSIC would be that one thing capable of combining cultures and mixing beats taste between humans? Kizomba is a clear example of that. Another fun fact is that its name comes from Kimbudo; which means ‘party’, maybe that’s why it’s so exciting to dance it.

It’s good to know that its characteristic for its slow and sensuous rhythm, came with a mixed touch of African rhythm and Haitian Kompa, until it became the one we know now a day. In the 1990s, when the actual Kizomba got more and more popular, Angolan semba dancers started to adapt their semba steps, according to the tempo and flavour of the Kizomba beats.

Back in the 60’s, the big parties were referred as: “Kizombadas”; since at that time, Kizomba wasn’t really “Kizomba”. Imagine calling your own parties like that, funning right? Many other dance styles from other continents were also enjoyed, since the rest of Africa received the influence of many other cultures; as a result of African rhythms and European styles.

As Angola did with Portugal. During the years, it has spread ALL AROUND THE WORLD; to countries like: England, France, Spain, Poland, Denmark, Belgium, Sweden, Belarus, Lithuania, Egypt, Switzerland, Serbia, Canada and the United States of America. And now, we hear it in South America, through all these famous artists like: Prince Royce, Romeo Santos and Juan Luis Guerra.

Not always was Kizomba defined, as we know it today. See, through the years, it has been confused with other genres like Cape Verdaen; which turned out to be the first similar rhythm before Kizomba was, what it is today. Many immigrants confused Cape Verdaen rhythm with Kizomba vibes, back in the 80’s. This genre comes from Cape Verde, in Africa; where the official language is Portuguese as well, and their movements are very similar.

Another interesting fact that I learned about the origin of Kizomba, was its first popular name, “Zouk”. It is good to know that this term represents the origin of Cape Verdaen and Kizomba, because people used to call every type of music by this name. Now with the other name, Kizomba, people can tell them apart. In the history of Kizomba, we will find the popular Brazilian Zouk dance, evolved from a dance called Lambada.

In this following video you could see how to dance Zouk and Lambada https://www.youtube.com/watch?v=BlK5oIjVNfM By HOWCAST

https://www.youtube.com/channel/UCSpV HeDGr9UbREhRca0qwsA

I know what you are thinking; How many dance types come from the same one? That in fact is the magic of Kizomba; it involves so many rhythms and cultures and that’s why it as special and popular, as it is today.

Lambada, was a dance that took over most night clubs in Brazil; especially, in Rio de Janeiro. In the mid 90’s, Brazilians discovered Zouk from the French Caribbean; which had many similarities with Lambada, because of its Caribbean rhythm influence.

Soon, Lambada started to adapt to Zouk. However; Zouk’s rhythm was slower than the Lambada, so it was necessary to make alterations to the dance, including to its basic steps.

All Zouk professionals then decided to call Lambada style, Brazilian Zouk (Zouk Brasileiro); with the objective to protect their culture and also with the objective, not to interfere with different culture’s interpretations of Zouk.

Ghetto Zouk Dance is one type of Zouk that a couple dances to, very closely with higher dynamics, fun, flow and precision, that follows the ghetto Zouk beat. It combines the basic Kizomba steps and techniques, with faster rhythm in footwork, requiring firm posture and higher level of power, pressure and movement control from both partners.

In the Ghetto Zouk Dance, both partners share the same amount of pressure, tension and impulse which makes, especially the ladies, be more involved in the dance. It also improves the communication between partners and helps them to maintain the flow. Ghetto Zouk Dance uses syncopated rhythm more often to better reflect the beat. In practice, it is demonstrated by faster footwork than the one of Kizomba and higher overall dynamics of the dance.

Unlike very soft movements of Kizomba, Ghetto Zouk Dance applies more energy and extension, while still emphasizing the precision of the movement.

In this link https://www.youtube.com/watch?v=7n9p DcSGwgg you will see how to dance Guetto Zouk step by step. By GHETTO ZOUK DANCE & KIZOMBA PRAGUE https://www.youtube.com/channel/UCA6q QHYwbcfaIQNL23tKk-A

Knowing its steps, in some places of the world, Kizomba is known as African Tango. The body position is very similar to the Argentine Tango, with the upper body leaning forward with head touching at times.

The lower body, particularly the hips, is very fluid using forward, backward and circular movements, in connection with the partner. Like salsa, dancers can break apart and perform ‘solo’ movements.

Everything we learned today about this music genre and its origin leaves us the knowledge that cultures were made to mix up, to blend with others and to spread their believes. Music is that one thing supposed to teach us, how to enjoy life and make dancing as special as it is. The different styles and movements make us feel part of their culture and origin.

Involving all tastes and rhythms, known by its slow, insistent, somewhat harsh, yet sensuous rhythm, as the result of electronic percussion, some of the most popular Kizomba and Zouk artists of all times are:

Kaysha, the Democratic Republic of the Congo (1974 – present):

Kaysha is a French-based musician originally from the Democratic Republic of Congo. His music is a blend of styles such as kizomba, rhumba, zouglou, zouk, zouk love, calypso, R&B, and hip hop. Kaysha is also a successful music producer, having produced songs for some of the bestknown artists on the Afro-Caribbean scene, including Passi, Solaar, Jacob Desvarieux, Soumia, Lynnsha, Elizio, and Ludo.

Elizio, aka Mister ODC (Original Di Cabo Verde):

He is a singer-songwriter, born in Angola in 1979; of Cape Verdean origin. Revealed with the title 10 fois, 100 fois featuring Perle Lama in 2003, Elizio quickly meets his first big solo success with Melodia which leads him to the top of the zouk scene. The artist then connects the tubes and expands his musical universe with more than 70 titles, ranging from general dancefloor with sounds like Bad Man on Kizomba with Angel or Make love on tempo in particular, through the kuduro as Sabi Di Mas.

Anselmo Ralph Andrade Lamb (born 1981 in Luanda, Angola):

Better known as Anselmo Ralph; is a singer of R&B, Soul and Kizomba. In January 2006 he released his first album titled “Love Stories”. That year he was nominated by the Channel O Music Video Awards in the “Best R&B” and “Best Director” categories, and by the MTV Europe Music Awards 2006 in the “Best African Artist” category.

Anselmo Ralph - Kizomba — Anselmo Ralph – Kizomba

In 2012, Coca-Cola announced a promotional campaign featuring Ralph, their first with an Angolan artist. As of January 2013, Ralph was touring the Benguela region of Angola to promote his album “Best of Anselmo Ralph”, which premiered the month before in the #5 position on the Portugal Albums Top 30 chart.

Nelson Freitas was born and raised in the Netherlands, with creativity and talent he constantly tries to refresh the world of Zouk music. In 1997 the compilation CD of “MOBASS Presents” was released featuring the track, “Hoje em Dia” (Now a Days), which officially launched Quatro Plus (formerly known as Quatro) in the market. As one of the lead singers of the group, Quatro Plus went on to release three successful albums “4-Voz” (Four Voices) in 1998, “Bem Conche” (Get to Know Us) in 2002 and “Ultima Viagem” (Last Voyage) in 2005.

Nelson Freitas - Kizomba — Nelson Freitas – Kizomba

In almost a decade, Freitas has earned what’s rightfully his as he is of the most admired and respected producers, singers and writers in the Cape Verdean as well as the Zouk music industry. With a blend of Cape Verdean Kriol and English lyrics, a twist of R&B and hip-hop incorporated with Zouk and traditional Cape Verdean music. With all these ingredients Nelson made his solo album called “Magic” In October 2006.The album sold over 25.000 copies worldwide.

Don Kikas, born Emílio Camilo de Carvalho, is an Angolan singer from the city of Sumbe in the southern Angolan province of Cuanza Sul. In 1997, Don Kikas released his second album, Pura Sedução which was silver in Portugal. That same year, the album’s Esperança Moribunda song received the “Music of the Year” award granted by the Rádio Nacional de Angola (national radio station). By this time, invitations were extended for Kikas to perform at international level. His third album, Xeque Mate, released in December 1999, produced a totally-renewed Don Kikas as it included songs recorded in three different countries and featured foreign musicians as well.

Don Kibas - Kizomba — Don Kibas – Kizomba

Soumia is of Moroccan origin and was born on August 27, 1977 in Saint Mandé in Paris. She made her appearance onto the music scene first in 1998 singing a duet with Talina on the RUBIZOUK compilation album. Since then, she has been featured in numerous compilations including ZOUK R&B VOLUMEs I, II & III; TROPICAL HIT MACHINE and SECTION ZOUK. She released her first album STILL IN LOVE in 2002 and her hits include Mes Sentiments; Trahison; and Avec des si ou Rendez moi.

Dancing Latin Dance

North America / USA /

Building Community Through Dance: Dancing Latin Dance is available for fundraisers, school functions benefit/awareness events, charities, multicultural celebrations, and special events.

Bailando Latin Dance Company is dedicated to heightening awareness and appreciation for the art of dance through education, outreach programs, and public demonstrations. The company’s motto is ‘Building Community Through Dance.

More than just a dance company

Argentine Tango

Their will be an emphasis on Caminadas (walks) and will master the basic figure 8 step; will also cover ochos (crossing/pivoting figure), basic boleos (to throw, keeping knees together, swivel & turn), basic ganchos (hooks), and giros (a turning step), molinete (windmeel).

Salsa Combo Classes

Learning follow and lead technique is emphasized along with the ins and outs of the salsa turn patterns, footwork, and shines. They cover cross-body leads, the copa, and combination patterns… body isolation, cuban motion, and footwork/shines will be taught in open and closed-position.

Services

They host instruction, classes, create dance performances, offer cultural presentations, outreach programs, and event promotion. Bailando Latin Dance Company engages in events for community centers, multicultural celebrations, schools, fundraisers, benefits, and other events, and all dance- levels.

Past schools/student organizations that have contracted with BLDC for dance education include:

University of WI-Milwaukee
Marquette University
Concordia University

Services include:

Performances/Demonstrations

Book Dancers for your event

These may include: cultural celebrations and festivals, socials, galas, school organizations, work companies, private or public events, corporations, conventions, and much, much more!

Cultural Presentations
Classes/Workshops/Lessons
Group, Semi-Private, and Private Instruction

For booking, you can contact [email protected] and for more information visit the following link http://bailandodance.com

Some things to never say on the dance floor

North America / USA /  New York

Most of us don’t do much talking while we dance, we only enjoy it! But, social dancing does require at least some verbal communication. Below, I give you some things that you never must say and avoid to do to your dance partners.

“This is how you do…”

Except for very limited circumstances (at least that your partner want it), stopping a dance to explain a concept to your partner is inappropriate. Even if you are a teacher who knows what you’re saying is true, it’s still almost always inappropriate. Avoid floor teaching wherever possible, please.

“Oh baby… you’re so sexy in my arms”

Between close friends you can do it as a joke only. Even then, it’s borderline and usually earns him a glare. There may be an exception to the creepiness if it’s someone you are intimate with. But, even then, the middle of a dance is generally not the time or place for verbal sexual overtures. If your partner isn’t feeling the love, it’s a sure way to create the most awkward dance experience ever.

“It’s OK. I got you.”

This one specifically applies to when someone is trying to make their partner do something they’re uncomfortable with. For example, head movements, dips, drops, or lifts. If you have to say “It’s OK. I got you,” it means either your partner doesn’t feel like you’ve got them, or that they don’t want to do the thing. So, don’t do that thing.

“Come on, get closer.”

If a partner doesn’t want to get close, you don’t make them get close. That´s all! If you really can’t stand dancing a bit further apart, the solution is simple: don’t dance with them again. But, your happy place should not be at the expense of your partner’s comfort.

“Why won’t you dance with me?”

If someone rejects you for a dance, please don’t ask why. Potential partners are allowed to reject a dance, and it makes things more awkward if they’re forced to give a reason. Or, it may result in them giving you a ‘pity dance’ because they feel guilty. Sometimes people legitimately don’t really have a reason other than “I’m tired,” “I’m not feeling the song,” etc. So, trying to mine for ‘extra data’ on why they’re not dancing with you is futile.

“Sorry for the bad dance.”

This one is usually born out of insecurity. If you’ve actually hurt someone or made a big mistake, apologize and move on. For example, crashing into another couple, twisting, grabbing, or other in-dance mistakes can reasonably be accompanied by a “sorry”. But, ending the dance with “sorry” undermines the experience you’ve had with the other person. Compliments are generally nicer to receive than apologies.

“You’re so much better than me.”

This is similar to the “I’m sorry” at an end of the dance. Definitively, you must avoid say that, please. If you’re dancing with someone, it really doesn’t matter who the stronger dancer is. It’s a shared experience for both of you. But, if you compare yourself to your partner, it can create a sense of awkwardness. Instead, try a full compliment. Maybe say “I’ve been looking forward to dancing with you” or “I really admire your dancing”.

If you’re worried about your own dancing, you can also say things like “I’m a beginner,” “I’m injured,” or “I’m really rusty” to take the pressure off without putting your partner in an awkward position. These are few things you must have in consideration to get a good connection with your partner on the dance floor and sure you will look as a perfect social dancer!

5th Annual Tricities Salsa Congress 2017

North America / USA / Washington

Come and enjoy the 5th Annual Tricities Salsa Congress at the Kennewick Red Lion, this September 22 – 24. This is one of the largest Latin events in eastern Washington with instructors from D.C., L.A. and Portland. Discounted passes are on sale now. Prices will be higher at the door. Friday and Saturday Nights Social passes will be sold at the door.

Dancing in 5th Annual Tricities Salsa Congress 2017- Photo 2

Don’t miss out on this spectacular event!!!!

2 full days of workshops on Saturday and Sunday.
2 workshop tracks to choose from each hour.
Social dancing Friday and Saturday night. 3 separate party rooms: a Salsa/Bachata ballroom, a Kizomba ballroom, and the Cumbia Party Room

Tickets: Full Pass $99.00 + $3.47 FEE (Including access to all workshop, performances and socials)

Hotel The Red Lion Hotel at Columbia Center is located within walking distance of Columbia Center Mall and numerous restaurants in Kennewick, WA Venue 1101 North Columbia Center Boulevard, Kennewick,WA 99336.

Instructors

Eddy vents (Portland, or):

Eddy Vents was born in Guinea – Bissau and raised in Portugal. Growing up part of the Palop Community, Eddy always felt electrified by Kizomba. In 1998, he began his career as a promoter in Lisbon which he continued after moving to London in October 2009.

Eddy Vents - 5° Congreso Anual de Salsa Tricities 2017 Flyer 2 — Eddy Vents – 5° Congreso Anual de Salsa Tricities 2017 Flyer 2

Eddy’s immense love, passion, and knowledge of Kizomba were recognized by respected Kizomba teacher Norma Facey and Eddy humbly credits her for starting his teaching career around March 2010.

Eddy is known for a teaching style submerged in history and musicality which he believes are fundamental in producing top quality dancers and he is condent the success of his method is demonstrated each time his students take the dance floor

Erica Saucillo (Los Angeles, CA):

Erika Saucillo was born and raised in Los Angeles, California. She started dancing at the young age of four. Throughout the years, she trained in various dances such as folkloric, jazz, and hip-hop.

Erica Saucillo (Los Ángeles, CA): - 5° Congreso Anual de Salsa Tricities 2017 Flyer 1 — Erica Saucillo (Los Ángeles, CA): – 5° Congreso Anual de Salsa Tricities 2017 Flyer 1

Erika began her Latin dance journey at the age of 21 when she first trained with “Alma Latina Los Angeles” directed by the world renown Sergio Jasso and Gaby Equiz. Erika quickly became the director of one of the largest Salsa/Bachata team in Los Angeles, “Quest Salchata Crew”. She is currently one of today’s top rising instructor & performer. Erika is a champion and top finalists at some of the world’s most important Latin dance competitions. She won the 3rd place in the World Latin Dance Cup Cha Cha Cha division, 2nd in the Top Female Bachata Social Dancer, and won first place at the 2016 LA top Female Salsa Social Dancer.

Oscar B.A. (Washington DC):

Oscar B.A is one of the pioneer ambassadors of Kizomba in the US. Currently based in the Washington, DC area, he has taught Kizomba workshops in some of the biggest Latin Dance festivals including The DC Bachata Festival, Flirt Seattle, and Reno Winter Bachata Festival. A sought after nonpareil dance instructor, he has been invited to run Kizomba boot camps by dance companies in Los Angeles, CA, Seattle, WA, Reno, NV and more.

Oscar currently teaches the longest running Kizomba dance classes in the DC, MD and VA Metropolitan area. Oscar’s career spans over 16 years of dancing, choreographing and instructing several dance disciplines. With roots in African dance, hip-hop, and Latin movement, Oscar founded the premier dance company Ollover!

Mario Vargas (Seattle, WA):

Mario was born in Nicaragua and raised in Miami. After moving to Seattle in 2012, Mario began dancing salsa and bachata and performed in various dance teams. After immersing himself in dance, Mario started teaching in 2013 and is currently teaching salsa and kizomba at the Salsa N Seattle studio. He has taught at numerous dance events including Vancouver (Canada), D.F. (Mexico), LA, and Washington DC. In addition to teaching, he hosts a weekly kizomba social on Wednesdays at the SNS studio. Mario will be teaching Kizomba at the 2016 Tri-Cities Salsa Congress with Shannon Urza.

And much more will be there…

DJS 5 Djs in scenes featuring during the weekend…

Mary Lyons (DJ Farenj) – Seattle, WA

Originally from the Boston area, Mary was exposed to “Kizomba” music by her Cape Verdean brother-in-law before it was popular in the United States dance community. Attending family gatherings in the 1990’s first introduced her to the music and culture of the Cape Verdean islands.

Not until 2011, did she discover the Angolan dances, kizomba, and Semba, which accompanied some of the beautiful music, she was already in love with. Further investigation and immersion into this music genre, extended her love and interest to the roots and culture of Angolan Kizomba and Semba. Mary regularly DJ’s at Century Ballroom in Seattle, as well as festivals including The White House Kizomba/Zouk Summit, Only Dance Seattle Festival, Seattle Salsa Congress, Seattle Bachata Kizomba Festival, and Tri-Cities Salsa Congress.

Dancing in 5th Annual Tricities Salsa Congress 2017- Photo 3

Sonido Marakero Tri-Cities, Wa

Sergio Luna Rocha aka Sonido Marakero is from Mexico City and lives currently in Pasco, WA with his family. Sonido Marakero loves to dance to cumbia, bachata and salsa music. He has enjoyed playing music since he was a young kid and has perfected his talent. He plays music around the area of Tri-Cities, Seattle, Yakima and Walla Walla. Sonido Marakero is a happy individual who loves to make other people dance on the dance floor. Come out and have a wonderful night and dance to the music played by Sonido Marakero. Look forward to seeing everyone having a wonderful time.

5th Annual Tricities Salsa Congress 2017 Flyer 3

To get more information about 5TH ANNUAL TRI-CITIES SALSA CONGRESS 2017 in Kennewick – Washington, visit: http://www.tricitiessalsacongress.com

Tribute to Johnny “Dandy” Rodríguez Jr. His first recording was professionally with Tito Puente in 1964 and was titled “Exciting Rhythm of Tito Puente”

Johnny “Dandy” Rodriguez, (September 11, 1945, United States August 17, 2024) son of Johnny Rodriguez Sr. who was nicknamed “La Vaca”, remembered percussionist who was part of the orchestras of Tito Puente and Tito Rodriguez, among others; as we can deduce, music for Johnny Rodriguez is something clearly hereditary given that as a child he attended his father’s rehearsals and his mother was a dancer.

Johnny Dandy Rodriguez Foto By Miguel Martillo

To get an idea of the musical family, let’s say that Johnny Rodriguez Sr. also took part in performances and recordings with musicians and singers of the stature of: Alfredito Levy, Joe Quijano, Jose Curbelo, Lou Perez Louie Ramirez, Machito, Miguelito Valdes, Noro Morales, Orlando Marin, Pete Terrace, Pupi Campo and Xavier Cugat.

The father’s enormous musical background was emulated in a great way with ample merits by the son.

Dandy Rodriguez grew up in Spanish Harlem in Manhattan, his home was very musical and when he was in high school he learned the details of percussion represented by the bongos, congas, timbales and drums. Influenced by his father he became interested in music and so in 1962 he joined the band of maestro Tito Puente.

His first professional recording was with Tito Puente and was titled Excitante Ritmo De Tito Puente; after this first album with Puente, “Dandy” Rodriguez began to deepen his musical studies listening and learning from leading musicians such as: José Mangual Senior bongosero from Machito, Rogelio “Yeyito” Iglesias bongosero from Cachao and Vitin Palacio bongosero from Johnny Segui.

He worked with the King of Timbales for more than three decades, initially in the sixties, more specifically from 1962 to 1972, then he rejoined Tito Puente’s band at the end of the seventies and was part of it practically until the death of the famous King of Timbales.

In the extensive career of our Johnny Rodriguez in music we must mention his internship with Joe Cuba’s orchestra, with whom “Dandy” Rodriguez himself says he participated in seven or eight albums since the mid-sixties; the first of them titled Joe Cuba Sextette – Comin’ At Yous; without forgetting to mention that in those albums the name of Johnny Rodriguez Jr. does not appear in the credits due to issues related to contracts with record companies.

His stay with Puente was not a limitation for him to be part of other musical groups, so he also worked for several years with another great of Latin music, the remembered Tito Rodríguez. He was also part of the band of the famous conguero Ray Barreto, replacing Tony Fuentes, and was one of the founders of the famous Típica 73 in 1972 and even took part in a couple of albums with Machito.

In the seventies, during the Salsa Boom, “Dandy” Rodriguez left his mark on recordings with: Jose “Cheo” Feliciano, Charlie Palmieri, Roberto Torres, Willie Rosario, Ismael Quintana, Celia Cruz & Johnny Pacheco, Louie Ramirez, Richie Ray & Bobby Cruz, Fania All Stars, Alfredo De La Fe, Conjunto Clásico, Henry Fiol and Tito Allen.

As we mentioned before, John Rodriguez returned to the band of maestro Tito Puente in 1978 and was part of the band until Ernesto Antonio Puente’s death in 2000 at the age of 77; he participated in this cycle in at least twenty musical works apart from a large number of concerts and performances on tours in different countries around the world.

During those two decades with Tito Puente he also worked with other musicians, singers and groups such as: Miguel Quintana, Roberto Torres, Charlie Rodriguez, Tito Allen, Alfredo De La Fe, Azuquita Y Su Melao, Charlie Palmieri, Celia Cruz & Johnny Pacheco, Paquito D’ Rivera, Raulin, The Bronx Horns and Angelo Vaillant.

Luisito Quintero, Johnny Rodriguez y George Delgado

During the first two decades of the new century, the musical work of maestro Johnny Rodriguez continued and his musical mark has remained in other publications with The Latin-Jazz Coalition, Frankie Morales, Eddie Palmieri, Gilberto Santa Rosa, George Delgado, Victor Manuelle, Rick Arroyo, Orestes Vilato, Mitch Frohman, Cita Rodriguez, Doug Beaver, Adalberto Santiago and Jeremy Bosch.

Also, special mention must be made of the participation of maestro Johnny Rodriguez with a group called The Latin Giants Of Jazz, in the best style of the classic Big Bands made up of great teachers, including some of the former members of maestro Tito Puente’s band; with this group they have published four albums; this project gave rise to another band called The Mambo Legends, who recorded the album entitled: Watch Out! Be careful!

John Rodriguez is without a doubt one of the most prolific percussionists in the world of Latin music called Salsa. The nickname “Dandy” dates back to his childhood when the car he was driven in was bought at a store or shop called “Dandy” and people said look how cute “Dandy” is and from there he stuck with that nickname. In music he is better known as Johnny instead of John.

In (the year 2022) the experienced Johnny Rodriguez had three or four groups with which he is playing, including Dandy Rodriguez and his Dream Team, while teaching percussion classes online.

He is one of the true legends of Latin music, not to mention that his talent has also been reflected in recordings for other musical genres such as: Electronic, Folk Rock, Folk, World & Country, Funk / Soul, Heavy Metal, Jazz, Stage & Screen, Jazz-Funk, Merengue and Pop.

In his very extensive artistic career, maestro Johnny Rodríguez was part of historic and iconic recordings of our musical culture, some of these albums have been worthy of awards such as the Grammy Award, among which are:

Tribute to Beny Moré – Year 1978

On Broadway – Year 1983

El Rey: Tito Puente & His Latin Ensemble – Year 1984

Mambo Diablo – Year 1985

Goza Mi Timbal – Year 1990

Mambo Birdland – Year 1999

Masterpiece / Obra Maestra Tito Puente & Eddie Palmieri – Year 2000.

“In 2008, Johny entrusted LP’s Research and Development Department with the design of the John “Dandy” Rodriguez Jr. Legends Series bongos. John is proud that these drums, which bear his name, feature such outstanding sound and visual characteristics.”

Also Read: Jerry Ferrao says in salsa key: “My life is a drum”

Collaboration: Marino de Jesus (1588) from Salsa History from the Dominican Republic